TYPES  OF 
THE  DEVINNE  PRESS 


TYPES 


OF 


THE  DE  VINNE  PRESS 


SPECIMENS 

FOE  THE  USE  OF  COMPOSITORS 

PROOFREADERS  AND 

PUBLISHERS 


395  LAFAYETTE  STREET,  NEW  YORK 

1907 


Copyright,  1907,  by 
THEODORE  L.  DE  VINNE  &  Co. 


PREFACE 


THE  DE  VINNE  PRESS  as  it  now  exists  is 
the  outgrowth  of  a  small  printing-house  es- 
tablished about  1836  on  the  second  floor 
of  an  old  building  at  the  corner  of  Pine  Street  and 
Broadway.     Since  then  it  has  had,  as  might  have 
been  expected,  many  changes  of  owners,  foremen, 
workmen,  types,  and  machinery,  but  it  has  every 
year  shown  steady  increase  in  its  service  to  the 
printing  public. 

These  specimens  show  that  its  present  collection 
of  printing  types,  some  in  large  but  others  in  limi- 
ted quantities,  which  have  been  diligently  gathered 
from  leading  foundries  of  this  country  and  Europe 
to  please  the  tastes  of  many  customers,  has  received 
and  is  receiving  a  generous  appreciation.  Some 
of  its  styles  have  been  made  for  the  exclusive  use 
of  this  house  and  are  not  now  to  be  had  from  any 
type  foundry  or  other  printing-house. 


PREFACE 

Its  large  and  varied  collection  of  Roman  text  types 
shows  approved  new  and  old  styles  in  full  series  upon 
more  than  two  hundred  bodies.  Novelties  of  real 
merit  are  constantly  added  and  are  usually  in  large 
fonts.  The  newer  faces  have  been  cast  on  the 
American  system  of  point  bodies.  Old-fashioned 
styles  of  merit  that  are  no  longer  made,  but  that 
still  find  favor  with  discerning  customers  of  the 
house,  are  on  the  old  irregular  bodies. 

For  the  service  of  those  who  require  large  amounts 
of  composition  in  haste  or  in  unlimited  quantities, 
composing  machines  of  recent  construction  have 
been  provided.  For  the  gracing  of  book  and  pam- 
phlet pages,  head-bands,  initial  letters,  borders  and 
tail-pieces  are  in  abundant  supply.  Many  of  these 
decorations  have  been  specially  made  by  artists  of 
eminence,  in  varied  designs  for  each  chapter  but 
harmonious  in  general  effect;  others  are  faithful 
copies  of  designs  produced  by  masters  of  printing 
in  the  fifteenth  and  sixteenth  centuries. 

The  electrotype  foundry,  press  rooms,  and  book- 
bindery  are  equipped  with  the  best  machinery  and 
expert  workmen. 


THE  TYPES  OF 

THE  DEVINNE  PRESS 

FOR  THE  USE  OF  COMPOSITORS 
AND  PROOF-READERS 


The  Black-letters  of  the  T)eVinne  <Press 
STANDARD 


of  ]Blacfe  letter 

resembles  t&atu0eb 
Jofjann  (sfotmberg  for  In0 

Bible  of  Hort^troo Etne0. 

tSCtlltam  C(arton,  toijo  began  as  a 
printer  tottf)  tgpes  noto  fenoton  a0 
(8lti  jf  lemtsk  aftertoarti  matie  u0e 
of  t|jt0  earlier  form,  a0  tiben  cut  ano 
ca0t  bg  t|)e  tgpe=fountier0  of jFrance, 

as  t|)ts  form  tms  fteen  useti  in  Cnglanti 
for  more  ti)an  tf)ree  f)unoreti  pears  for 
t|)e  <^JKctal  Copies  of  all  8cts  of  parlia- 
ment, for  tf)e  Boofe  of  Common  Draper, 
anc  ecclesiastical  jTorms,  it  fjas  fairlp 
earneb  t^e  name  of  O:ED  6ii<3XilSIi. 
Boofeis^  men  agree  in  rating  tins  as  tlje 
g>tanTjartJ  form  of  Blacfe4etter. 


The  Black-letters  of  the  <DeVinne  Press 

THE  faces  of   Standard  Black  here  shown  are  not  strictly 
uniform,  for  they  were  devised  and  cast  at  different  times. 
The  English  type-founders  from  whom  they  were  bought  certify 
that  they  are  castings  from  matrices  of  the  fifteenth  .and  sixteenth 
centuries,  or  are  faithful  reproductions  of  the  original  designs. 


letter  (jere  fenoton  as  §Bica 


printing  tfte  <®rolier  €Iub  ebition 
of  tfte  «$ftifobibfon"  of  fticftarb  be 
2E»urp,  ag  tran^lateb  bp  $rofeg£or 
3iLiDe£t  of  Princeton  dnifcer^itp. 
€fte  font  ftaa"  mam;  peculiar  liga 
tares  anb  abbreviation^, toitft  sonic 
obb  accent^  rarrfp  probibeb  for  anp 
otfter  font  of  2£>!ach*  €jji^  5PftiIo^ 
bibion  tppe  anb  tfte  Ipdpa^  tppe  on 
page  7  are  preferreb  bp  boohi^ft 
men  for  tfte  reprinting  of  <®Ib  <Sng^ 
ii£ft  boofe^  of  tfte  fifteentft  centurp, 
l^etoer  be^ignjef  of  faultle^^  form 
areputagibe.  3tUftpugft  tfte  letter^ 
are  clo^dp  fitteb,  print  tftcrefrom  i$ 
reababie* 


-  letter  tppe,  tfte  totner- 
ca#e  i  alwap#  carried  a 
sTtantin0  strofee  otoer  tfte  top,  not 
unlifce  tfte  acute  accent  uifed  ober 
bottiels"  in  reprint^  of  foreign 
Ian0ua0es\  35esi0n#  of  a  later 
period  ftatoe  a  dot  Itfct  tfte  period 
or  tfte  full  point  otertftisi.  <3tfte 
:  tfte  ends  of  some  angle*, 
sftort,  are  omitted  in 


THE  PHILOBIBLON  BLACK 


interfere  toitb  or  confute  tfte 
clearness  of  an  adjoinin0  letter. 
3t  ^o-cane&  foair-Iine  of  nercept- 
iBle  ttichne^  is  put  in  tj&e  center 
of  open  capital  to  close  up  un- 
plea#in0  0ap^  of  wftite  #pace. 
.§>ome  of  tfte?e  capitaWmap  sieem 
un0ainlp  to  a  reader  vnfto^e  taste 
fas  Seen  formed  on  modern  de-- 
#i0n»,  but  tfte  s'bapei  of  Tetter* 
afterward  produced  to  mafce  tbe 
letters  conform  more  to  tbe  old 
roman  model  are  not  improlic- 
mentrf.  (Cfie  older  forms  ftatae 
more  of  clearness"  and  are  more 
and  rememfcerafcle. 


ON  BREVIER  BODY 


OF  the  smaller  sizes  of  Black-letter  that  can  be  used  as  ac- 
ceptable mates  of  this  Standard  Black  we  have  in  case  fonts 
on  Nonpareil,  Brevier,  and  Long-primer  bodies.  (See  pages  197 
and  206  of  the  Office  Specimen  Book.)  These  smaller  bodies  are 
needed  when  an  order  is  given  to  set  a  card  or  circular  in  Black- 
letter  exclusively.  They  may  be  required  also  for  side-  and  foot- 
notes for  Black-letter  texts.  As  print  from  these  small  bodies  is 
somewhat  indistinct,  and  is  especially  objectionable  when  arabic 
figures  have  to  be  used  in  the  notes,  it  is  advised  that  roman 
lower-case  be  preferred  when  the  compositor  has  liberty  of  choice. 

3 


The  <B  lack-  letters  of  the  ^DeVinne  '•Press 
THICK-FACED 


rate  ting 

r&e©rtf)0tro*  dporm  of  23lacfc=letter, 
iiut  it  is  not  GO  rcga  rBcU  tii?  StttttcntS 
of  (FHti  03o  oi;  5.  It  \ua  5  fi  rs  t  matic  i)$ 
lioljcrt  ^fiornr  of  aontron,  aiiottt 
one  tuntrretr  gears  ago  ,  anti  tten  met 
toi  tft  f  afoot,  tint  nob)  is  not  So  tiigt  Ii? 
esteemed  C^e  Series  fjrrc  sfto^tt  is 
i^ot  Uniform,  for  it  $aS  iieen  ro.pt  en 
antr  tt  angeU  ftg  mang  f  ountrerS.  ^e 
tf)  i  d;  c  v  form  is  of  use  for  a  fteatrtng  or 
fcom  line  in  joi)  toovl;  ,  antr  for  an  em= 
p^atie  toorU  in  a  33latfe=Ietter  €ext 
of  a  tftinner  face*  $tS  capita  is  can  fcc 
uSetr  as  Initial  HetterS  to  Some  otter 
forms  of  ISIaciu  Cfte  ^ibe=Iine  antr 
^our=Itne  ftabe  no  lotoer-case  Sorts* 


The  ^Black-letters  of  the  1)eVinne  ^Press 

<T1j  r  f  f)  t  cfc  fa  re 


tftf  0  3JatM&r«i#fj  is  of 
orrisirr  for  ffcrafrttt  &£ 
•tuft  f  oi*33  i«  via  w  lutes* 
roo  fllooiiii?  for  most 
of  $tn«iH  tuer  in 

Uiorlu 


EVEN  spacing  of  words  and  neat  justification  of  lines,  often 
made  difficult  by  long  or  indivisible  words  in  the  copy,  can 
be  aided  by  the  occasional  use  of  Monk  or  Missal  initial  letters 
(see  pages  337,  338  of  the  Office  Specimen  Book)  either  as  initial 
letters  or  as  entire  words.  A  Missal  initial  so  selected  should  have 
its  stem  or  thick  stroke  as  thick  as  that  of  its  adjoining  Black- 
letter.  Capitals  of  Black-letter  are  never  acceptable  when  used 
in  a  mass  for  each  letter  of  a  word.  Over-wide  spacing  of  words 
in  lines,  or  the  spacing  of  single  letters  in  a  word,  can  be  prevented 
by  the  substitution  of  a  smaller  size  of  the  same  style  for  an 
unimportant  and  of  a  larger  size  for  an  important  word. 


<£riti cal  reatrer  mag  note  fttoo  distinct  jFasfjfottB  of 
UlacfMetter  on  tfjese  pases— one  berg  fat  antr  tijfcft, 
antt  one  not  at  all  tijt'tfe.  Of  tfje  berg  STfjf  ctt  JFace  toe 
tl)t  «mcs  Double  <Kreat=primer  antt  Doufclc  Smalls 
pica;  of  tfje  relatttelg  tijfnner  face,  pfca,  Smallspt'ca,  antr 
fir etrier.  5Tf)cre  are  also  in  case  some  intermediate  st'jes  antr 
fashions  of  U  la  eft  not  fjelonfling  to  either  series  tfjat  mag 
fie  usetr  in  combination  toitf)  tfjis  3Tf)iefe=facetr  stgle. 

5 


The  ^lack-letters  of  the  ^De  Vinne  'Press 
OLD   BLACK 

3Lb  JSlacfc 

te  the  simpler 
form  of  Blaeh^letter 
preferred 
Scribes  for 

of  Devotion  anb  Scbookboofcs. 
1ft  was  largely  emplo^eo 
Spanisb  printers  of  tbe 
teentb  century  anb  sboulb  be 
preferreb  now  for  olb  Spantsb 

subject  matter.  Ht  is  also  known  as 
tluoor  Black,  but  it  was  selbom  useb 
b^  tbe  earl^  printers  of  Englano.  IFts 
capitals  bo  not  mate  neatly  with  all 
pointeb  BlacMetter.  Hltbougb  fat, 
or  of  a  greater  wibtb,  its  appearance 
is  not  improveb  b\>  letter* spacing. 


The  ^lack-letters  of  the  ^DeVinne  Press 
OLD   BLACK 

Gen  0i3C6  of  tbis  <S>R>  Black,  rigbtty  $rafcet>  from 
IRonpareil  to  jfort^eigbt  point,  are  in  case,  anfc 
some  of  tbe  fonts  are  in  goo^  supply  £be  larger 
are  preferred;  appoint  is  selbom  required 


61$  6GLYA$  TYPG  tsafaitftfui 

reproduction  of  tfte  tppe  usetn  by  CBpnttin 
lie  COorfce  in  ftis  edition  of  $elpas  or 
fcnigftt  of  tfte  §>toanne,  tiateti  JLontron,  t5is, 
prtnteti  from  fte  unique  copp  of  J^lr,  Eobert 
b^  fte  (^roller  Club  of  tfte  City  of  Jljeto 
$jt  toas  cast  in  tfte  tppe=ftmnlrrp  of  ^ir  Cftarles 
Heeirs  ^ons  of  Lontion,  tofto  are  tfte  otoners  of 
tfte  surttoing  puncftes  anli  matrices  of  tfte  £fetar= 
Cftamber  founders  ant»  tfteir  pretrecessors.  Cftis 
face  antJ  tftat  of  tfte  ^ftilobiblon  letter  are  preferred 
bp  all  boofe4obersi  for  tfte  reprinting  of  €>lli  €ng-- 
lisft  te^ts,  in  books  of  compact  or  conbenient  form. 


THE  HELYAS  TYPE 


H  lEtQC  aitt)   Opett   initial  ©  ®l&  *lacft  {«  "ot  a  tavorltc  for  commercial 

ha«  h^><>tl   «<>I^rt<>h  fnr  mm<>  «"&  miscellaneous  job  worft.    Itmasbeses 

Dtt»  Uceu  bCltCltU   IOC  paQC  iecte6  witb  confi^ence  for  article  beafeings 

6,    beCaUSe     itS     t)CCOratiOn  an&  for  *>tePlaBrt>  »n«8  tn  literary  circulars 

«^»«/»^«.       ^Tf   »«,-i-u  *u^  or  pamphlets,  but  not  for  ortinar?  mercans 

agrees  Well  WltO   tbe   Open  tile  advertisements.  ft«  lowercase  is  roun&, 

spaces  witbin  tbe  letters  of  clcar' ant)  quitc  a0  rcafcal)l«  a»  **>«  satanics. 

i-/>v«-   +*,m>    «MN  iv»«-K  *K^.  f  l  maie  aI0°  be  8Clcct«6  for  tbe  title-pages  of 

tejt  t£pet  anO  WUD  tOe  pamphlets  on  booWsb  subjects,  an^  for  lets 

«DaC^S    between    th^  tersbeaoings  tbat  call  for  tbe  use  of  mans 

»i3es  of  tbis  face.    Its  greater  breaMb  ant. 

H  Dense  anO  ClOSell?  clearness  mas  tempt  tbe  compositor  to  use 

enaraveb  initial  ©  woulo  not  tt  for  onc  8bott  line  in  a  tftles*a9c» but  w* 

CH91UVCU  IIIUUU  W  WUUIU  IIUI  8election  is  sel&om  pleasing.    ©l&  JSlach  is 

at  its  best  wben  composeo  tn  a  mass. 


The  ^Black-letters  of  the  ^eVinne  'Press 


OLD   FLEMISH 


fot  ft^TfcttCp  fotflt  0 

Mrb  QlSfacWetfer  0poi»n  upon  a 

page*  Ofb^femie^  ^ae  Been  in^ 
caffeb  Casern,  &f 
u  3^  t0  a  usefuf  fefter  f< 


reprint,  or  for  60060  concerning 
eu6)eci  ma^er.   3^  te  ftfieb  ae  an 

or  Quaint  (Running  Jittcs  in  otfkr  (jBoofte 
unb  (pdtnp^fete.  ^efecteb  wit?  biecretion,  tte  edf  ifafe  dre 
eertnced8fe  AS  farge  initiafs  wfen  t^ej  ft  nefttfj  in  tl}e  tert, 
without  e^otBing  gape  of  wfhtc  space  aBoec  or  Bcfow  t?e  fine. 


The  ^Black-letters  of  the  <DeVinne  <Press 


OLD   FLEMISH 


from  Qtonpareif  fo  ^bur^ine  (pica 
48*  6p  German  e^anbatb)tate  in  case. 

^  C«r  '      ' 

fonte  ate  compfefo  toi$  ft<jut*0,  anfc 
fatger  6^3*0  0a&  *0e  (Betman  untfauf, 


Composition  in  of?  Q&facfcfeff  er, 
neaf fg  Bpaceb  anb  t»if  0ouf  f afse 
bitnsionB,  anb  in  a  narrotw  measure, 
is  ufiuaffga  t»orft  of  Borne  btfftcuftg. 
Ca^nfafs  onfg  cannof  fie  uBeb  for  en* 
fire  toorbB :  tfyeve  ore  no  Bmaff  ca^n? 
fofs:  inbiuisifife  tworbs  or  BgffaBfeB 
ore  common.  ^0in  epocins  of  sin0fe 
fefters,  fo  mofte  o  fine  foo  B^orf  fiff 
i 0e  measure,  IB  not  approtteb  6g  ^ 
crificof,  gef  if  is  ^ocetBfe  tn  0onuio6o 
fo  BufiBfifufe  Bmoffer  foceB  of  f^e 
some  Beries  for  fritiof  t»orbs  onb 
forger  foceB  for  f 0e  tworbs  of  more 
importance,  OB  #OB  fieen  ^rcytouefg 
Buggesfeb.  (TTlonft  anb  (WltBBof fgpes 
mog  6e  0oob  sufiBfifufes  for  f^e  bis* 
affotveb  co^nfofs.  ^ome  ficense  of 
inconsisf encg  in  f  0e  free  ufie  of  Co^n* 
fof  fcefferB  B0oufb  fie  ^ermiBBifife  fo 
preuenf  unsig^f fg  Boeing,  <»0ic3  is  o 
muc#  greofer  fouff . 


J>6  ft*  arrongeb  tn  cop^ntuef  not  fie 
ongeJ)  t»tf gout  Bpectof  p ertnff  from 
f  §e  tartf  er .  TJef  f  ^ec«  Ux>r5*  are  off  en  arrcmsefc 
BO  t ^af  f  0e|j  muBf  produce  uneven  Biwctng  or 
fafse  &it)tBtonB.  fQJ^en  f 0e  comyostfor  meef B 
t»tf  3  t^eBe  ofiBfacfee,  anb  to  Ben  overrunning 
comf>oBe!>  ftneB  afio t»e  or  fief oix>  boeB  not  cor; 
reef  f$efauffB,  §e  need  nof  frgfo  ameno  to^en 
t $t  twtfer  twW  Bee  0ta  fur*f  proof.  Jn  moBf 
caBf  B.  f  Be  auf  6or  can  sufisf  if  uf  e  in  f  Baf  proof 
fonger  or  shorter  tuorbB  f tyxt  ttitt  cf ose  f 0e 
aap  oeeenfft.^  Jn  narrof»  tneaaureB  faefefuf 
compoBtfton  tn  QBfacfcfeffer  IB  tmpracftcafife 
txnf  ^ouf  f 0tB  OBBtBf once  from  f ^e  Dmf er,  ano 
f^erepfactngof  ofifecft'onafife  toorbB  fi^  offers 
f^af  witt  exacrtj  fi'W  f$e  preacrtfieo  space 
cannof  fie  bone  tn  a  (Jurr^.  (ttor  ts  f  ^e  change 
oeBtreb  af toage  safiefacf org  offer  fong  oeftfi; 
erafton.  §ett>  perBonfi  can  foresee  f  Be  resuf  f 
tn  proof,  ^^e  tworbB  chosen  maj  fie  foo  fong 
or  cBorf ,  anb  protoe  as  ofiBfinafe  as  f  Be  f^peB. 
&n  t$is  potnf  <&trtD>,  in  Bis  (pens  anb  CupeB, 
totaefg  Ba^B:  "^Beoriee  are  efasftc,— are 
expanBtfife  anb  compreBBtfife,  fiuf  f^pes  of 
mefaf  fyave  set  btmenBton  of  ertenBton,  anb, 
tn  Borne  circumcf ancec,  ofisof ufef g  refuse  fo 
fiubge, — to^erefore  flJeorieB  ntuBf  gracefuffg 
$tefb,  anb  attotu,  tf  ma^  fie,  a  twottefttt 
btt>tB(on  eoen  in  a  tm'be  measure.  ^Bpes  are 
tyrannical,  anb  Witt  BomefimeB  perpefuafe 
BofectBmB  unber  t$e  pfea  of  necessity" 


tB  sf  gfe  of  fgpe  t»a0  caffeb  65  edtfg  <frenc#  founbetc 
(j|df atbe,  anb  Wifftdt 
|>tctute0(!|ue,  anb  efdBotafe." 

cf  Ofb  S^wt^?  ate 
uncouf^  But  f  §eg  are  0efbotn  cBjecf  eb  f  o  in  running  fit  fe0, 
anb  mag  Be  0efecfeb  occa0tonaffg  for  Jntfiaf  £effer0. 


The  ^Black-letters  of  the  <DeVinne  'Press 
SATANICK 


Q  called 

so  by  the 

Hmerican  type-founders.  It 
is  the  Hmerican  copy  of  the 


designed  by  QliUiam  JVTorris 
of  the  Kelmscott  press*  Re 

made  this  style  for  18-  and  12-point 
bodies  only,  but  Hmerican  founders 
now  provide  it  on  thirteen  bodies:  6-  8- 

IO-12-lS-  24-  3O-  36-  42-  48-  54-  60- 

and  72-point,  It  is  a  crude  amalga- 
mation of  Roman  with  Black-letter, 
which  is  said  to  have  been  modelled  by 
JVIorris  upon  the  style  made  by  JVIentel 
of  Strasburg  in  or  near  the  year  1470, 

10 


The  ^Black-letters  of  the  <De  Vinne  <Press 
SATANICK 

Cbis  Style  of  Cype 

was  designed  for  the  reprinting  of  medieval  books  or 

subject  matter,  but  it  has  been  and  is  now  freely 

used  for  modern  boobs,  and  even  for  mercantile 

advertisements  and  circulars*    Its  lower-case 

letters  are  fairly  readable,  but  some  of  its 

capitals  are  extremely  uncouth  and  can- 

not be  made  pleasing  in  any  combina- 

tions.   Lines  of  capitals  that  contain 

the  characters  fj  L  C  01  and  Y 

are  usually  rejected  in  the  proof* 


Illiam  Moms   was   the  f^Gsigners  of  the  printing  Cypcs 

first  to  perceive  that  ty-  ~J*  tbe  *****£**  tm^  mod- 

pographv  was  strong  enough  ^TStSjSS^JSTS^ 

to  Stand  on  Its  Own  feet  With-  piate  printers,  and  vainly  tried  to 

out  crutches  from  rival  arts,  reproduce  all  their  refinements.  Che 

Re  saw  that  there  was  merit  in  hair-line  of  every  letter  approached 

bold  print,  and  possibilities  of  imn8ibiiity,and  its  form  was  oma- 

toelWnt  i/the  crudjtv  of  ^™£K^^ 

Old  Boohs  and  even  Of  Chap-  showed  care  and  skill,  but  the  general 

boohs.     Not  content  with  his  effect  of  types  so  made  was  that  of 

first  experiment  in  Strength-  feebleness.  &  Jitter-press  printing 


engraved  work.  Che  literary  world 
from  the  Old  Gothic  model,  and  had  to  wait  for  J^Iorris  to  revive  a 
the  Croy  type  was  the  outcome,  really  Virile  typography. 

T>oy  ttype  met  tbe  fate 

of  other  innovations.    Hdmirers  of  the  then  prevailing  taste 

for  feminine  delicacy  in  printing  derided  it  as  an  affectation  of 

Medievalism.    Lovers  of  old  boohs  hailed  it  as  the  revival  of  old- 

fashioned  Virile  typography.    On  one  feature  all  were  agreed.    Boohs 

in  troy  type  were  well  made.    J^ever  before  had  there  been  better  edi- 

tions than  those  of  the  Kelmscott  press,  as  shown  in  the  Chaucer,  the 

Golden  Legend,  and  the  Bistoryes  of  Croye.    Slow  of  sale  at  first,  the  boohs 

in  the  new  style  soon  attained  an  unprecedented  appreciation.    JMany  were  out 

of  print  soon  after  publication,  and  have  been  sold  at  auction  at  four  and  five 

times  the  price  first  ashed  by  the  publisher.    Chey  are  still  in  request  and  command 

extravagant  sums,  due  not  to  the  beauty  of  the  type  but  to  the  care  given  by  JMorris  to 

the  minutest  details  of  workmanship.    Che  pressworh  of  the  books  is  faultless,  but  it 

cannot  be  reproduced  worthily  on  dry  and  cheap  paper  and  by  hasty  methods. 

11 


The  ^Black-letters  of  the  "De  Vinne  '•Press 
SLOPING  BLACK 


jjis  Alined 
^_   a/  jjfai[h 
not  oftqt[  required,  but  it 

mxg  bq  used  very  effectively 
in  £mv  jjfanh$  for  my 
yhmzq  or  word 


jjudtntun 


or  in  %  (jtompasitian  largely  or 
xwttyset  in^jtdic  or^nclimd 
in  oym  disyhg  fay  whuff  tinxgtylq 
been  Delected.  $t  h  not  recon[= 
mended  joy  $inglq  line$  oj  dhyh%  iq 

any  composition  of  upright  letter^.  «|iftf  ottit\ 
forms  of  jjhch-letttr,  it  shows  to  best 
fage  whti\  it  i$  massed  in  a 


12 


The  ^lack-letters  of  the  <DeVinne  <Press 


AN^LO-SAXON 


Ira 


OF   MODERN   CUT   IS 


FOE    DISPLAY    LINES    IN 


AUGRJSTAN  BLACK 


%  Uame  giJwt  10  a  ^i 
Iark-Ijetto  0f  similar  Jfasjmm 

tr  0f  p^at  Jf0rm,  of  tojrkjj  tae 
noto  ^s0^  Jf0wr  useful  Si^es, 


gijtg 


bwn  bi 

13 


The  ^Black-letters  of  the  *De  Vinne  'Press 


CHURCH   TEXT 


ralWt  toratts?  it  mas 
largritj  nsrtt  taring 


in  CJJTOJW.  Ifc  onteeit  anft 
nto^ItoHa^  Wtai, 
an  satisfarinrij  nni  to  tat 
linrrjiiH^  jlplit  to 
rrtrmf  OTtkfl. 

€  on  tjjis  ^ogE  10  ont  of  a  |me0  of  initials  ttiot  mates 
mell  mitji  ttji0  |tqk.  CJIPSE  ^mailer  ierarato  Mais 


frnr 


art  not  sa  ptetng,  but  Ijwj  ran  he  USE&  raitji  aiinantagE 
00  Cma-linE  letters  for  SSlark-letters  af  a  loiter  /are. 


14 


The  '•Black-letters  of  the  ©e  "Uinne  'Press 


CHAPEL   TEXT 


JIHFtrc  Irum  i|mt| 

Ik  imtibk   lb  Jbw 

\gx  v^  1 

mth  r 


1 


m 

is 


JL>d 


m 


trr 


fi lt 


iajprinlmg* 

^ama 

inbrngs  ro  nrbttiar^  ] 


ttoi 


15 


The  Black- letters  of  the  <De  Vinne 


MISCELLANEOUS 


]  ~J&L  JnL<§r^K=Icttrr  of  berg  small 
gijf  it;  unaboioahln  intiistinct  in  print, 
but  sticklers  for  perfect  uniformitgmag 
insist  on  it»  u«f  for  extracts  or  for  foot* 
or  siOf=notfg  to  atflttgpi  of  tf]r  same  face  on  larger 
bofin.  It  IB  also  in  occasional  rrqurst  for  personal 
cart's,  ceremonial  indications,  ano  small  note  heatj= 
ings,  fffrs  face  on  Nonpareil  bntiij  is  Xo.  ^00,  from 
tfct  JSruct  CsprsfounDrg.  Its  lotoer=easf  alphabet 
measures  6J  pica  ems. 


composition  of 

small  rarbs  anb  rirrnlars  for  tobicb  tbt 
grtat  blaxhnrss  of  tbt  Cbirh-fattb  sljile 
or  %  niuoutbncss  of  olbtr  forms  man  bt  nn- 
araptablc,  tbc  smallrrsijts  of  iihuk-lfttrrnobj 
mabt  bn  utobtrn  btsigiurs  mag  be  satisfartorn 
snbstitutts.  ft  bis  face  of  Augustan  JIatk  on 
tbt  @lb  ^Brtfaicr  bobp  (8-point)  is  an  ataptablt 
tut  of  an  approbcb  mobrrn  stiilt.  ?bt  lotocr- 
rnsr  alpbabtt  mtasnrrs  6f  pira  tms. 


bg 

tnann  Critics  to  tl)e  0pttr0 
an&  Bristles  at  tl)e  Angles 
of  some  jforms  of  Black-letter  left  to 
tl)e  JHesigning  of  tlji0  Stgle.  Jt  toas 
once  esteemed,  but  is  now  neglecteb* 


n 


central  panels  toe  t)atje  onlg  tl)e  troo 
si^es  of  ©teat-primer  anb  JDouble 
Small-pica,  from  tt)e  Bruce 


made  in  on  attempted 

reconstruction  of  tne  form  of  fifocR-fetier  often 
lead  to  uneipcctcd  effects.  8fie  cbnge  tfml 
seems  satisfartorg  on  18-point  mag  Be  a  dis- 
figurement on  8-  or  24-point.  (Biact  redndion 
**  or  en!arqement  from  an  3n(feiiJfc  iHodc[  is 
nsnaffy  disappointing.  80  produce  tne  same  effect,  tfic 
smatfcr  Body  must  Be  refaticcfg  raider  and  tie  larger  Bodg 
more  compressed.  3n  eoerg  series  on  mang  Bodies,  one 
Body  afioags  seems  more  sgmmetricaf  (Kan  ang  otficr.  Sfiis 
is  £orussian  on  £reoier  Bodg. 


condpngcd, 
ilie  farger 
and  a  tiiirL 


Smaff-pica  My  is  ific  resnft  of  an 
allcmpt  to  unite  t&c  angutar  features 
of  ^facE- fetter  iritl  some  measure  of 
tne  freedom  of  set  Script.  3t  is  oery 
ana1  not  distinct  on  smnff  bodies;  hi 
sijes,  made  in  troo  forms,  of  a  tnin 
"ace,  are  grnrefuf  and  readafifc. 


16 


The  ^lack-letters  of  the  foe  Vinne  'Press 


BLACK   ORNAMENTED 


This  lavishly  ornamented  type,  made  about  sixty  years  ago,  is 
provided  with  a  lower-case  on  five-line  pica  body  that  has  to  be 
justified  to  profusely  decorated  capitals  on  nine-line  body.  A 
curious  exhibit  of  the  extravagant  love  for  typographic  frippery 
that  prevailed  about  and  for  some  time  after  the  middle  of  the  last 
century.  Do  not  select  this  style  for  a  display  line  without  special 
order.  To  some  buyers  of  printing  the  capitals  have  attractiveness 
as  initials ;  to  a  larger  number  of  readers  the  style  is  hopelessly  out 
of  fashion.  See  other  remarks  about  decorated  Black-letter  on 
pages  18  and  20  of  this  pamphlet. 


Black-letter  in  outline  is  the  copy  of  a  design  by  Christopher 
Van  Dijck,  that  was  admired  and  reprinted  by  Moxon  in  his 
Mechaniclc  Exercises  of  1683.  It  was  made  in  type  for  the  special 
use  of  the  De  Vinne  Press,  as  a  letter  of  display.  To  Diplomas 
and  Certificates  this  Moxon  Black  imparts  a  quaintness  desired  by 
many  customers  that  cannot  be  given  to  these  documents  by  the 
Black-letters  of  modern  design.  It  proves  most  satisfactory  when 
used  as  the  shading  outline  in  black  ink  for  a  specially  engraved 
central  letter  printed  in  red  or  gold.  See  proofs  of  the  central  letters 
in  the  Office  Specimen  Book,  page  364. 

A  more  generally  useful  style  of  Black-letter  capital  is  the  Out- 
line Uncial  capital  now  shown  on  an  advanced  page  of  this  work. 

17 


The  ^lack-letters  of  the  ^eVinne 


TYPES  NOT  IN   CASE 

The  angularity  and  intricacy  of  many  characters  of  Black-letter 
have  been  constant  temptations  to  the  making  of  other  variations 
that  once  were  admired  by  customers  of  this  house  for  whom  they 
were  specially  purchased.  Some  of  these  variations  had  a  tempo- 
rary popularity,  but  most  of  them  have  fallen  into  deserved  disuse. 
In  addition  to  the  fonts  here  exhibited  we  have  other  styles 
rarely  called  for  but  not  deserving  of  the  room  they  occupy  in  case. 
Of  occasional  service  and  in  too  good  condition  to  be  thrown  away, 
they  are  packed  in  paper  and  reserved  for  the  few  customers  who 
insist  on  the  re-use  of  types  of  the  fashions  of  the  last  century. 
These  paper-packed  varieties  should  be  selected  only  by  special 
request. 

GERMAN  TEXT  No.  580,  so  named  in  our  Office  Specimen 
Book,  with  its  profusely  decorated  initial  letters  and  its  petty 
and  indistinct  lower-case,  in  a  series  of  five  sizes,  has  been  thrown 
away,  as  unfit  for  modern  practical  work.   It  will  not  be  renewed. 
See  Office  Specimen  Book,  pages  223-4. 

SAXON,  almost  as  profusely  ornamented  in  its  capitals,  and 
with  detached  flourishes  intended  to  make,  but  that  seldom  do 
make,  exact  connection  with  the  letter,  has  met  a  similar  fate. 
These  styles  are  mentioned  only  to  show  that  the  profuse  ornamen- 
tation and  delicacy  attempted  by  the  designer,  once  esteemed  of 
great  beauty,  have  defeated  his  purpose  and  have  really  made  the 
style  valueless  to  modern  buyers  of  printing.  O.  S.  B.,  pp.  224-5. 

BLACK  ORNAMENTED,  even  when  the  letters  are  reasonably 
distinct,  is  not  improved  but  damaged  by  its  excess  of  orna- 
ment.    Some  of  the  larger  sizes  are  of  limited  service  as  initial 
letters,  but  the  lower-case  sorts  are  generally  disliked.     O.  S.  B., 
pages  232-3. 

A  NGLO  BLACK,  an  attempt  to  simplify  the  standard  Black- 
JLJL  letter  form  by  the  rejection  of  hair-lines  and  spurs  to  angles, 
is  not  an  improvement,  but  a  degradation  of  the  character.  Sim- 
plicity when  it  is  carried  too  far  becomes  a  positive  coarseness. 
O.  S.  B.,  page  240. 

FLORENTINE  BLACK,  in  two  sizes,  with  capital  and  lower- 
case on  different  bodies,  is  also  in  paper.     Select  only  when 
requested.     O.  S.  B.,  pages  235-6. 

18 


The  ^Black-letters  of  the  TteVinne  '•Press 

ITALIAN   TEXT,  an  absurd  style,  of  a  needlessly  intricate 
construction,  is  seldom  called  for  now.     See  Office  Specimen 
Book,  page  238. 

MEDIEVAL  TEXT,  CARD  TEXT,  and  FANCY  TEXT, 
styles  once  in  frequent  request,  have  been  destroyed  and 
will  not  be  renewed.  O.  S.  B.,  pages  218-22. 

A  study  of  these  fanciful  styles,  coupled  with  our  present  know- 
ledge of  their  entire  inapplicability  to  any  modern  work,  should 
teach  every  compositor  that  alphabetical  letters  are  not  approved 
as  subjects  for  profuse  ornament,  and  that  ornament  does  not 
make  a  printed  line  attractive,  but  may  make  it  bewildering  and 
unacceptable.  The  conclusion  so  reached  may  be  extended  and 
applied  with  equal  force  to  the  present  fashion  of  inserting  or- 
naments in  composition  where  ornament  is  not  really  needed. 
When  ornament  does  not  help,  it  does  hinder. 

Yet  the  caprices  of  fashion  have  not  always  been  wise,  for  they 
have  authorized  a  rejection  of  the  following  serviceable  styles. 

AUGUSTAN  BLACK  and  CONDENSED  BLACK  are  really 
A\.  useful  forms  that  may  be  restored  to  their  old  popularity 
when  they  have  been  shorn  of  their  needless  ornamental  pen- 
dants. The  flourishes  at  the  tail  of  the  capitals,  once  thought 
crowning  graces  by  the  designer,  seem  to  have  been  the  pretext 
for  their  entire  neglect.  The  disciplined  buyer  of  printing  may 
tolerate  eccentricity  in  form,  but  he  does  not  tolerate  ornament 
that  even  partially  obscures  or  confuses  the  plain  intent  of  the 
letter.  O.  S.  B.,  pages  207-9. 

It  should  be  noted  that  the  variations  from  the  old  standards 
of  Black-letter  that  are  now  in  most  favor  tend  toward  greater 
simplicity,  or  to  some  tolerable  eccentricity  in  the  direction  of 
flourish  or  decoration. 

TEUTONIC  OUTLINE,  once  approved  as  a  decorative  letter 
even  in  mercantile  forms,  is  now  out  of  fashion.     O.  S.  B., 
pages  216,  238. 

/COMPOSITE  is  another  attempt  at  simplification.  For  many 
\J  years  this  style  was  preferred  as  the  best  letter  for  display  in 
the  script  of  legal  documents.  Why  it  should  have  been  preferred 
to  the  neater  cut  of  Borussian  is  an  anomaly  that  cannot  be 
explained.  0.  S.  B.,  page  239. 

19 


The  ^lack-letters  of  the  ^eVinne  'Press 

MEDIEVAL,  so-called,  is  an  old  attempt  to  make  a  pleasing 
letter  without  the  aid  of  hair-lines  or  light  strokes  of  any 
kind.  It  is  another  undervalued  style.  It  should  be  called  Byzan- 
tine, for  it  was  largely  used  by  scribes  of  the  Eastern  Empire,  and 
its  density  and  simplicity  seem  to  have  inspired  the  designer  of  the 
type  for  Gutenberg's  Bible  of  Forty-two  Lines.  To  those  who  love 
eccentricity  the  capitals  are  useful  as  initials.  See  Office  Speci- 
men Book,  pages  217-8. 

BLACK  OPEN  and  TITLE  TEXT  OPEN  are  other  forms  of 
ornamented  Black  that  have  had  their  day  of  service  and  are 
no  longer  desired.  O.  S.  B.,  pages  212-5.  OUTLINE  BLACKS 
are  not  favored  by  this  house ;  they  are  frail  and  soon  lose  their 
sharpness  and  beauty  when  printed  by  cylindrical  impression  upon 
hard  and  dry  paper.  These  outlines  and  other  styles  of  cross-lined 
and  shaded  Black-letter  make  a  creditable  showing  only  when  per- 
fectly new.  Few  printers  care  to  renew  them  after  their  too  brief 
service.  Outline  and  ornamented  Blacks,  of  doubtful  value  even 
in  ceremonial  printing,  should  never  be  selected  for  mercantile 
work. 

aST  Unless  specially  requested,  (Jo  not  apace  single  letters  in  lines 
or  words  of  Black.  The  spirit  of  old  Black-letter  calls  for  a  close 
fitting  of  all  characters,  as  well  as  for  great  compactness  in  composi- 
tion. Black-letter  shoirs  to  best  advantage  when  WORDS,  not  letters, 
are  thin-spaced. 

Avoid  the  composition  of  a  title-page  or  a  circular  exclusively 
in  Black-letter  by  the  method  of  open  display.  The  lower-case 
catch-lines  of  small  Black  that  may  be  required  between  lines  of 
bold  display  damage  the  general  effect.  If  catch-lines  have  to  be 
used  let  them  be  in  small  roman  capitals. 

Black-letter  is  most  effective  when  set  compactly,  either  as  a 
paragraph  with  large  initial  letter  or  in  half -diamond  indention. 

Initials  of  large  sizes  that  span  three  or  more  lines  at  the 
beginning  of  a  compact  composition  should  be  of  approved  old- 
style  form.  Kelmscott  initials,  the  Caxton  initials,  and  others  of 
similar  quaintness  are  best.  Initials  of  modern  design  are  inappro- 
priate and  ineffective  before  the  old  faces  of  Black-letter. 

A  LHAMBRA  BLACK  is  of  simpler  and  neater  design  and  has 
J\_  a  readable  lower-case,  but  its  profusely  ornamented  capitals 
render  it  distasteful  to  readers  of  the  present  time.  O.  S.  B., 
page  234. 

20 


The  ^lack-letters  of  the  <DeVinne  Press 

THIN-SPACINGr  of  single  letters  may  be  prevented  sometimes 
by  the  use  of  a  large  square  initial  letter  at  the  beginning  of 
the  paragraph,  but  the  initial  so  chosen  should  line  with  the  first 
line  of  text  letter  and  make  no  noticeable  gap  of  white. 

Sometimes  the  large  initial  narrows  the  measure  and  makes 
difficult  even  spacing  and  neat  justification.  To  prevent  these 
faults,  a  larger  size  of  Black-letter  may  be  selected  for  the  more 
important  and  a  smaller  size  for  the  less  important  words.  The 
capital  letters  of  the  Monk  and  Missal  series  can  also  be  used  for 
this  purpose.  Extra  justification  will  be  required  by  these  irreg- 
ularities, but  the  improvement  so  produced  in  the  appearance  of 
the  composition  is  worth  the  additional  trouble.  The  uncouth- 
ness  and  unworkmanlike  show  of  the  thin-spaced  letters  of  a  tvord 
within  a  solid  text  should  be  prevented  at  any  cost. 

The  combination,  justification,  and  even-lining  of  different  sizes 
in  a  solid  text  call  for  skill  and  patience,  but  these  troublesome 
expedients  are  to  be  preferred  to  slipshod  letter- spacing,  which 
is  as  unworkmanlike  as  the  uneven  leading  of  a  book  page  for 
the  purpose  of  making  that  page  of  standard  length. 

CAPITAL  letters  of  a  lower-case  font  with  lower  shoulders  make 
trouble.  When  a  letter  of  this  form  is  needed,  send  it  to  the 
foundry,  and  have  its  objectionable  shoulder  cut  off.  The  value 
of  an  initial  is  largely  in  its  close  fitting  to  the  text  type,  and 
especially  so  in  a  Black-letter  text.  The  initial  that  compels  a 
broad  gap  of  white  below  is  not  a  grace ;  it  is  a  positive  disfigure- 
ment to  any  composition. 

Uniformity  of  style,  commendable  in  many  forms  of  open  dis- 
play, is  not  possible  in  all  compositions  of  Black-letter. 

IN  A  TITLE-PAGE,  the  standard  style  of  Black-letter  may  be 
selected  for  the  name  of  the  book  as  the  main  line  of  display, 
when  there  is  reason  to  believe  that  it  will  be  acceptable  to  the 
author  and  publisher.  It  is  usually  acceptable  when  the  book  treats 
of  liturgical,  bibliographical,  or  Old  English  subject  matter,  but 
it  is  not  so  wise  a  choice  for  a  book  entirely  modern  in  matter  and 
manner.  The  thinness  and  boldness  of  Black-letter  often  tempt 
the  compositor  to  select  it  for  the  main  line  of  display  when  that 
line  has  too  many  letters  for  proper  prominence  in  roman  capitals. 
Black-letter  will  give  the  boldness  that  is  not  possible  from  the  use 
of  thin-stemmed  Two-line  Condensed  capitals,  but  it  makes  dis- 
cord with  the  roman  capitals  of  a  title-page. 

21 


The  ^Black-letters  of  the  <De  Vinne  'Press 

THE  MEASUREMENTS  OF  LOWER-CASE  ALPHABETS 
IN  EMS  OF  12-POINT 

STANDAKD   BLACKS 

X    afcctoefifffrjMmnopiiwtutoW):^  123^567890  ffifTftfljafifFflfl 

BREVIER  BLACK  No.  2,  R.  S.  8 

B   abcbefgt)ijklmnopqrstnt)tt)XB}  1234567800  fiffflffiffl 

LONG-PRIMER  BLACK,  A.  D.  F.  &  S.  10 


fflfliftffflrf 
LONG-PRIMER  BLACK  No.  3,  R.  S. 

abcDffshtfklmnopqntorttom  123^567890 
LONG-PRIMER  BLACK  No.  4,  R.  S. 


LONG-PRIMER  BLACK  No.  401,  Bruce. 

abcDefg^tfblmnopqrflftulJiD)^^  1234567890  ffljtkflffft 

12-PoiNT  PRIORY  TEXT,  A.  T.  F.  1034 


PICA  BLACK  No.  3,  R.  S.     (Helyas)  1234 

aftcliefgljijhlmnopqrj0ftubtDji:p3  1234567890  ffyfiffi 

PICA  BLACK  No.  4,  R.  S.     (Philobiblon)  12 


91 

ENGLISH  BLACK  No.  3,  R.  S.  14 

f/  atrKtf  gi)  t  tli  Unit  0410  rstti\)\u.r  t>; 

GREAT-PRIMER  BLACK  No.  1,  R.  S. 


GREAT-PRIMER  BLACK  No.  2,  R.  S. 
22 


The  ^lack-letters  of  the  ^DeVinne  'Press 
STANDARD  BLACKS 


DOUBLE  SMALL-PICA  BLACK,  E.  S.  25% 

abcfcefgfttjfclmnopqrstubtoj? 


DOUBLE  SMALL-PICA  BLACK  No.  2,  E.  S. 


afccfccf  gijt  jiilmnost 

DOUBLE  ENGLISH  BLACK  No.  1,  E.  S.  30 


DOUBLE  ENGLISH  BLACK  No.  2,  E.  S.  26 


DOUBLE  GREAT-PRIMER  BLACK  No.  1,  E.  S.  40 

abctief  si)t)felmnot? 

DOUBLE  GREAT-PRIMER  BLACK  No.  4,  E.  S.  30^ 


CANON  BLACK  No.  1,  E.  S.  5712 


CANON  BLACK  No.  2,  E.  S.  4912 

23 


The  Black- letters  of  the  ^De  Vinne  '•Press 


OLD   BLACK 


abcbef3btjhlmnopqrstuvwr«3       1234567890 

G-POINT  OLD  BLACK,  A.  D.  F.  &  S 


36       abcDefabtJftlmnopar0tuvwiB3    1234567890    arfefgn 

BREVIER  OLD  BLACK,  A.  D.  P.  &  S.  1014 


C      abc&efabijfelmnopqrstux>wj£3 

LONG-PRIMER  OLD  BLACK,  A.  D.  F.  &  S.  12i4 


D 

12-poiNT  OLD  BLACK,  A.  D.  F.  &  S. 


IE   abcbef  obij  fclmnopqrst  w>wj:\> 

GREAT-PRIMER  OLD  BLACK,  A.  D.  F.  &  S.  19 

3f  abcfcefcjbijfclirmopqrsu 

DOUBLE  SMALL-PICA  OLD  BLACK,  A.  D.  F.  &  S.          22^ 

(3  abc&efgbiikmnt 

36-POiNT  OLD  BLACK,  Boston  T.  F.  35*2 


42-poiNT  OLD  BLACK,  F.,  L.  &  Co.  44 

f  abcbefgbik 

48-PoiNT  OLD  BLACK,  A.  D.  F.  &  S.  51 

24 


The  'Black-letters  of  the  3)e  Vinne  'Press 
OLD  BLACK 

Jabcbefg 

72-PoiNT  OLD  BLACK,  A.  D.  F.  &  S.  70 

THICK-FACED 

JF  .ittrfcrf  afjiflt  I  iintr 

DOUBLE  SMALL-PICA  BLACK  No.  400,  Bruce  33 


DOUBLE  GREAT-PRIMER  BLACK  No.  400,  Bruce  53 


BLACK  Nos.  400  AND  401 

abrtjrfgfitjMmnopqratufafaisj    123456Z890 

NONPAREIL  BLACK  No.  400,  Bruce  6*2 


123^567890 
BREVIER  BLACK  No.  3,  McK.,  S.  &  J.  7% 


BREVIER  BLACK  No.  401,  Bruce  814 


SMALL-PICA  BLACK  No.  400,  Bruce  12 

ret&fiifmmnapQrstttfetofj??   ftffl 

PICA  BLACK  No.  400,  Bruce  1534 

25 


The  ^lack-letters  of  the  ^DeVinne  'Press 


SATANICK 


H  abcdefgbtjhlmnopqrstuvwxyz     1234567890 

6-POINT  SATANICK,  Boston  T.  F. 

B         abcdefgbijhltrmopqrstuvwxyz     1234567890 

8-POiNT  SATANICK,  Boston  T.  F.  984 

C       abcdcf  gbijhlinnopqi'stuvwxyz     1234567890    fi 

IO-POINT  SATANICK,  Boston  T.  F. 

D      abcdefgbijfchrmopqretuvwxyz    1234567 

12-POiNT  SATANICK,  Boston  T.  F. 

6   abcdefgbijhlmnopqrstuvwxyz 

18-POiNT  SATANICK,  Boston  T.  F.  1884 

f  abcdefgbijklmnopqrw 

24-POiNT  SATANICK,  Boston  T.  F.  25^ 

6  abcdefgbijhlrnnop 

30-PoiNT  SATANICK,  Boston  T.  F.  30% 

abcdcfgbijhlmn 

36-POiNT  SATANICK,  Boston  T.  F.  36^2 

I  abcdcf  gbijkq 

42-POiNT  SATANICK,  Boston  T.  F.  4334 

abcdcf  gbst 

48-poiNT  SATANICK,  Boston  T.  F.  49 

26 


The  ^lack-letters  of  the  *De  Vinne  'Press 
SATANICK 

Rabcdefghij 


54-poiNT  SATANICK,  Boston  T.  F. 


Labcdcfist 

GO-POINT  SATANICK,  Boston  T.  P.  60 

JMabcdeft 

72-poiNT  SATANICK,  Boston  T.  F.  70 


BORUSSIAN 


at>cdef9lHjfi(mnopqrstuD.Djeg3  dtytflU  1234567890 

BREVIER  BORUSSIAN,  McK.,  S.  &  J.  5*2 


1234567890 

SMALL-PICA  BORUSSIAN,  MeK.,  S.  &  J.  6% 

DOUBLE  SMALL-PICA  BORUSSIAN,  McK.,  S.  &  J.  1234 

DOUBLE  SMALL-PICA  BOLD  FACE  BORUSSIAN,  McK.,  S.  &  J.  1684 


DOUBLE  GREAT-PRIMER  BOLD  FACE  BORUSSIAN,  McK.,  S.  &  J.     2484 

2T 


The  ^Black-letters  of  the  ^De  Vinne  *Press 


OLD   FLEMISH 


1234567890 
NONPAREIL  OLD  FLEMISH,  McK.,  S.  &  J. 


1234.567890 

8-POiNT  OLD  FLEMISH,  McK.,  S.  &  J. 


9*4 


C      afcMs0t$fmnopqr6fut>f»r£3   1234567890 

9-PoiNT  OLD  FLEMISH,  McK.,  S.  &  J. 


1234567890 

12-POiNT  OLD  FLEMISH,  McK.,  S.  &  J.  1134 


til 


PARAGON  OLD  FLEMISH,  A.  D.  F.  &  S. 


1614 


30-poiNT  OLD  FLEMISH,  McK.,  S.  &  J. 


BODY  32  (Oid  German)  OLD  FLEMISH,  B.  &  Co.  3014 


BODY  48  (Old  German)  OLD  FLEMISH,  B.  &  Co.  4734 

28 


The  ^Black-letters  of  the  <De  Vinne  <Press 
SLOPING  BLACK 


flfjffi 

PICA  SLOPING  BLACK,  McK.,  S.  &  J.  10*2 

abcdej$hijhlmno$qr&tmwxyz  1234 

GREAT-PRIMER  SLOPING  BLACK,  McK.,  S.  &  J.  1434 


DOUBLE  SMALL-PICA  SLOPING  BLACK,  McK.,  S.  &  J. 


DOUBLE  ENGLISH  SLOPING  BLACK,  McK.,  S.  &  J.         25 


DOUBLE  GREAT-PRIMER  SLOPING  BLACK,  McK.,  S.  &  J.    30 


SIX-LINE  PICA  SLOPING  BLACK,  McK.,  S.  &  J. 


BLACK  No.  401 

ojraj  1234 

GREAT-PRIMER  BLACK  No.  401,  Bruce  15 

It  abc&cfgljijklmnopqrsttnmix} 

DOUBLE  SMALL-PICA  BLACK  No.  401,  Bruce  19 

29 


The  ^Black-letters  of  the  <Z)e  Vinne  'Press 
CHAPEL   TEXT 


PICA  CHAPEL  TEXT,  McK.,  S.  &  J. 

9btbrfg^ijfebitntipqr$t«titun|j  1234567890  ff 

GREAT-PRIMER  CHAPEL  TEXT,  Mc-K.,  S.  &  J.  12 

fiflfijffflb 

TWO-LINE  SMALL-PICA  CHAPEL  TEXT,  MeK.,  S.  &  J.     15 


TWO-LINE  ENGLISH  CHAPEL  TEXT,  MeK.,  S.  &  J. 


CHURCH  TEXT 

ahrtF|Jiiiklninnpi]rstnaiDn]i  1236507890  ffifi 

DOUBLE  SMALL-PICA  CHURCH  TEXT,  Bruce  11 


DOUBLE  ENGLISH  CHURCH  TEXT,  C.  R.  S.  &  Co. 


DOUBLE  GREAT-PRIMER  CHURCH  TEXT,  C.  R.  S.  &Co.    30 


CANON  CHURCH  TEXT,  Conner 

30 


The  ^Black-letters  of  the  ^De  Vinne  'Press 


AUGUSTAN   BLACK 


BREVIER  AUGUSTAN  BLACK,  Bruce 


123456ZS00 

LONG-PRIMER  AUGUSTAN  BLACK,  Bruce  8*2 

r^fjg^jklmtta^rstufafa)^  1234567890  fl 

PICA  AUGUSTAN  BLACK,  Brace  1114 

brfg|njklmn0pqrst:ubfo*j^  fflffiff 

GREAT-PRIMER  AUGUSTAN  BLACK,  Hagar  15 


ANGLO -SAXON 


FOUR-LINE  PICA  ANGLO-SAXON,  McK.,  S.  &  J.  37 


FIVE-LINE  PICA  ANGLO-SAXON,  McK.,  S.  &  J.  4458 


EIGHT-LINE  PICA  ANGLO-SAXON,  McK.,  S.  &  J. 
31 


75 


Initials 


Initial  Letters 


UR  collection  of  initial  letters  is  large 
and  varied.  Those  made  expressly  for 
the  general  service  of  this  house  have 
all  the  letters  of  the  alphabet.  Some 
have  added  blocks  for  two  or  more 
colors,  and  some  are  single  letters  only. 
Other  complete  alphabets  from  several 
European  foundries  are  on  foreign 
bodies  that  differ  from  our  American 
standard.  They  have  been  collected  to 

give  proper  expression  to  fashions  of  book  work  in  different 

countries  and  centuries,  and  should  not  be  used  indiscriminately. 

The  letter  that  is  a  grace  in  one  book  may  be  a  blemish  in  another. 

The  suggestions  that  follow  will  serve  as  guides  to  selection. 

INITIAL  LETTERS  are  great  helps  in  making  print  attractive. 
Readers  who  prefer  a  severe  simplicity  in  print  and  who  dis- 
like words  or  lines  in  types  of  bold  display,  or  a  too  frequent 
recurrence  of  descriptive  subheadings,  seldom  object  to  a  properly 
selected  large  letter  at  the  head  of  a  long  paragraph.  They  are 
really  needed  to  make  easy  of  reference  the  short  chapters  of  the 

37 


The  Initials  of  the  'DeVinne  'Press 

Bible  and  the  different  divisions  in  hymn-books  and  manuals  of 
devotion.  In  many  other  kinds  of  printed  matter  they  could  be 
selected  oftener  with  advantage.  A  proper  initial  at  the  beginning 
of  a  first  paragraph  always  gives  attractiveness  to  the  composition. 
It  is  the  feature  that  first  catches  the  eye.  The  letter  selected  for 
this  service  may  be  plain  or  ornamented,  but  it  should  be  fitting 
in  size  and  style  and  appropriate  to  the  subject. 

A  large  or  ornamented  letter  at  the  beginning  of  a  chapter  or 
paragraph,  as  high  as  many  lines  of  the  text  type  by  its  side,  and 
lining  neatly  with  its  first  and  last  lines,  is  known  as  an  Initial. 

The  roman  capital  letter  of  large  size  and  in  a  similar  position 
is  called  a  Two-line  letter.  "  Two-line  "  is  not  precisely  descriptive, 
for  a  type  so  called  may  span  three  or  more  lines  of  its  mated  text, 
but  it  is  not  a  two-line  letter  if  it  does  not  line.  The  capitals  fur- 
nished with  large  lower-case  letters,  sometimes  used  as  substitutes, 
do  not  fairly  serve  as  initials,  for  they  have  shoulders  at  foot  that 
leave  an  unpleasing  gap  of  white  space  at  the  last  line.  To  prevent 
this  fault,  type-founders  provide  for  initials  special  types  with 
small  shoulders  so  that  they  will  truly  line  with  text  type. 

8[ZE  is  the  feature  to  be  first  considered.  For  small  type 
on  a  small  page  of  the  ordinary  book,  select  a  plain  two- 
line  roman  letter  that  will  span  two  lines  of  the  text ;  for 
large  type  on  a  large  page,  a  letter  that  spans  six  or  more  lines 
may  produce  a  more  pleasing  effect.  A  small  initial  on  a  large 
page  makes  the  entire  composition  seem  petty.  Yet  there  are 
limits  to  the  use  of  plain  two-line  letters,  which  are  not  so  accept- 
able, even  for  large  text  type,  when  larger  than  four-  or  six-line 
pica.  The  size  of  an  initial  should  be  controlled  by  the  size  of  the 
type.  A  letter  of  the  height  of  two  lines  of  text  type  should  be 
enough  for  the  double-column  matter  of  an  8vo  or  12mo  page. 
When  the  text  type  is  very  small,  as  of  8-  or  6-point,  a  three-line 
initial  may  be  better.  If  the  text  type  of  an  8vo  is  in  12-  14-  or 
18-point,  an  initial  spanning  three  or  four  lines  will  not  be  too 
large,  and  may  be  still  larger  with  propriety. 

The  two-line  should  agree  with  the  text  in  style  as  well  as  in 
line ;  a  page  in  Caslon  or  in  Elzevir  is  more  pleasing  when  it  has 
an  initial  of  similar  characteristics.  Two-line  letters  of  Caslon, 
Modernized  Old-style,  Ancient  Roman,  or  MacFarland,  Chelten- 
ham, etc.,  are  consequently  required. 

38 


The  Initials  of  the  T)e  Vinne  "Press 

TWO-LINE  LETTERS  call  for  another  requirement.     For 
text  types  in  10-point  or  smaller  size  the  ordinary  width 
of  roman  capital  is  satisfactory,  but  for  a  text  in  18-  or  24- 
point,  the  two-line  initial  is  more  pleasing  when  compressed.   For 
very  narrow  measures  of  small  text  types,  the  two-line  letter  is  of 
better  shape  when  it  is  decidedly  condensed. 

For  large  two-line  letters  of  roman  capitals  a  face  moderately 
condensed  is  to  be  preferred.  Letters  like  A  J  L  T  Y,  with  struc- 
tural lines  that  do  not  entirely  fill  the  body,  make  awkward  gaps 
of  white  space  that  are  disfigurements  to  the  general  effect.  It 
was  the  perception  of  this  disfigurement  that  induced  the  early 
book-makers  to  fill  this  vacant  space  in  the  letters  of  irregular 
form  with  tracery  or  decoration. 

A  two-line     A      is  to  be  preferred  to  the  broader  form     y% 
letter  of  this   /  \     that  makes  a  more  unsightly  gap  of    /  \ 
thinner  form  JL   \.  blank  space  on  each  side.  ± V. 

The  broader  form  of  letter  is  also  objectionable  when  it  has 
stems  much  thicker  than  the  type  of  the  text  about  it.  Never 
select  any  expanded  form  of  letter  for  an  initial  when  it  makes 
harsh  contrast  with  the  shape  of  the  small  types  of  the  text.  For 
the  same  reason  avoid  using  extra  condensed  two-line  letters. 

One  initial  of  large  size  is  enough  for  a  page.  There  is,  at 
times,  a  need  for  smaller  initials  on  that  page,  but  those  that  are 
added  should  be  much  smaller.  Two  or  more  initials  on  the  same 
page  of  the  same  size  confuse  the  reader  and  nullify  one  another. 
They  may  be  acceptable  on  a  pamphlet  cover  page,  where  they 
are  relieved  by  abundant  surrounding  blank  space,  but  they  are 
not  pleasing  on  the  page  that  is  full  of  small  type. 

When  one  large  initial  only  is  used,  that  initial  should  be  very 
large,  and  it  is  most  effectively  placed  at  or  near  the  head  of  the 
page.  A  small  decorated  initial  that  spans  but  two  or  three  lines 
of  text  type  on  a  large  page  and  is  filled  with  closely  engraved 
lines  may  not  be  so  attractive  as  the  plainer  two-line  roman  capital. 


8IYLE  is  of  importance.   As  a  rule,  the  plain  roman  two-line 
initial  is  preferred  for  books  or  circulars  of  serious  subject 
matter,  but  there  are  some  exceptions,  not  easily  described 
or  classified,  for  which  the  decorated  initial  maybe  an  improvement. 
The  small  ornamented  initial  is  best  fitted  for  small  type,  but 
it  can  be  used  sometimes  as  a  secondary  attraction  in  the  para- 

39 


The  Initials  of  the  <De  Vinne 

graphs  that  follow  a  first  large  initial.  When  two  or  more  are  to 
appear  on  the  same  page  the  first  should  be  very  bold.  Under 
no  circumstances  should  the  first  be  small  in  size  and  niggled  with 
dense  or  closely  engraved  ornamentation.  The  small  ornamented 
initial  instead  of  improving  really  degrades  the  composition.  On 
a  page  of  large  type  one  small  initial  always  seems  out  of  place. 

In  the  early  days  of  printing  when  paragraphs  were  not  made, 
and  when  a  chapter  of  many  pages  had  no  break  of  white  space 
from  its  beginning  to  its  end,  the  first  letter  of  the  new  chapter 
always  began  with  a  big  and  ornamented  letter. 

To  prevent  an  excess  of  the  paragraph  signs  C.  %  initials  of 
very  small  size  were  occasionally  used  by  early  book-makers  in 
very  compact  composition  to  divide  the  subject  matter  of  separate 
sentences,  or  to  distinguish  versicles  from  responses. 

Initial  letters  made  before  the  invention  of  printing  were  de- 
signed for  two  or  more  colors.  When  color  printing  was  found 
impracticable,  the  outline  only  of  the  letter  was  engraved,  in  the 
belief  that  the  future  owner  of  the  book  would  fill  in  the  outline 
with  any  bright  color.  The  desired  color  was  seldom  added,  but 
designers  have  followed  the  old  fashion  of  preferring  initials  en- 
graved to  show  white  letters.  Lines  or  vines  that  fill  the  gaps  of 
white  around  the  more  irregular  parts  of  the  letters  are  added  to 
make  a  light-and-  shade  contrast  of  black,  white,  and  gray.  The 
initials  now  most  approved  by  publishers  are  those  that  have  letters 
that  appear  as  black,  with  light  and  open  decoration  about  them 
that  seems  gray  in  print. 

An  engraved  initial  in  which  the  letter  has  been  made  obscure 
by  eccentricity  of  shape  and  by  a  profuse  tangle  of  surrounding 
intertwisted  lines  or  vines  is  seldom  pleasing  ;  it  is  spoiled  by  what 
artists  call  niggling  or  overworked  decoration.  Decoration  about 
an  outline  initial  should  be  open,  and  should  mate  with  the  gray 
color  of  adjoining  lines  of  text  type. 


nH6  IlUfl)ISCD7STIC   on   S-  point  body,  first  made  in 
type  for  the  lettering  of  old  seals  and  medals,  is  a  small 
size  now  used  for  the  petty  initials  of  some  books,  but  it 
cannot  be  used  effectively  for  this  purpose  within  the  limited  space 
of  an  8-point  body.    It  has  not  enough  of  blackness  and  boldness 
to  give  distinction  to  new  subject  matter,  and  the  types,  very  close 
fitted,  always  need  hair-spaces  between  letters.    Its  best  use  is  for 
the  letters  of  the  word  that  follows  the  large  initial. 

40 


The  Initials  of  the  <DeVinne  Press 


123445567890 


*    *    •§•    !0[ 


vs»  ^r  ^ 


*  Abbreviation  for  ut  or  um 


THE  LETTERS,  ARABIC  FIGURES,  AND 
ORNAMENTS  USED  BY  DESIGNERS 
AND  ENGRAVERS  OP  SEALS,  COINS, 
MEDALS,  AND  INSCRIPTIONS  UPON 
METAL  OR  STONE  DURING  THE  FIF- 
TEENTH AND  SIXTEENTH  CENTURIES 


From  the  royal  seal  of  Ludwig  of  Bavaria 
m  LVDOVIGVS  •  aVHRTVS  •  D6I  • 

ROMKROR  vm  •  impeRHTOR  •  semreR  •  H  v<^  VST  vs 


Seal  of  a  Count  Conrad  von  Hohenlohe 

•  onvnRHDi  •  De  • 


SB 


Tombstone  of  a  Margrave  von  der  Lausitz 

+  Hnno  •  DO(D  •  ma  •  LXXXV  •  v«  to  vs  •  PSBR 

OB«T  •  STTOGRf  OVS  •  ffiHRGMO  •  LVSf  GGOSiS 
aVRRADf  •  CDAROIliOnf  S  •  PiLf  VS 


Numismatic,  German  body  No.  8.    Alphabet  measures 

41 


ems  of  12-point 


The  Initials  of  the  ^DeVinne 

The  style  of  decoration  to  be  produced  in  an  initial  is  more  in  the 
province  of  the  designer  than  of  the  printer,  but  it  is  the  printer, 
not  the  designer  or  engraver,  who  has  to  accept  the  responsibility 
for  the  unwise  selection  of  unacceptable  ornament. 

It  is  not  always  desirable  that  the  letter  in  a  decorated  initial 
should  be  in  the  brighter  color.  The  letter  may  be  more  effective 
in  black  and  its  outer  decoration  in  red,  so  that  it  shall  show  at 
first  glance  its  connection  with  the  text  type.  A  ringed  or  banded 
outline  about  the  letter  is  most  pleasing  in  black,  white,  or  gold. 


on  long-primer  and  pica  bodies  is  not  any 
bolder  than  Numismatic,  but  it  could  be  used  in  invita- 
tions, programmes,  and  ceremonial  printing,  in  which  a  little 
ornamentation  is  seldom  an  offense.  To  those  who  object  to  the 
slight  decoration  of  this  Ritual,  10-  and  12-point  Uncial  initials 
may  be  acceptable.  They  add  boldness  as  well  as  features  of 
quaintness  to  monotonous  roman  type.  The  10-  and  12-point  could 
often  be  used  to  add  variety  of  appearance  to  plain  paragraphs. 
These  small  bodies  can  serve  as  two-line  initials  for  5-  and  6-point 
text  type,  but  they  are  petty  and  not  bold  enough. 


10  points.     Conner 


12  points.     Conner  8884 


in  ten  different 

sizes  from  10-  to  78-point,  of  good  service  as 
two-line  letters,  are  equally  serviceable  when  set 
up  to  appear  as  full  words  in  separate  lines  of 
display.  They  are  of  uncial  form  and  adaptable 
to  a  text  in  roman  or  Black-letter.  It  is  a  mistake  to  assume  that 
a  Black-letter  line  or  text  must  have  a  strictly  Black-letter  initial. 
Fifteenth-century  books  show  that  early  printers,  and  the  scribes 
who  preceded  them,  preferred  the  uncial  or  rounded  form  of  roman 
capital  over  the  irregular  Black-letter,  for  the  Uncial  permitted 
greater  freedom  in  construction  and  decoration. 

For  the  ordinary  modern  book  two-line  roman  capital  letters 
should  be  preferred  ;  for  the  book  treating  of  medieval  subject 
matter  select  the  uncial  shape. 

42 


The  Initials  of  the  ^DeVinne  'Press 
UNCIALS 

Also  called  Monk  or  Missal  Type  by  type-founders 

GR63C 


78-point 


60-point  153 

This  face  is  also  in  outline  for  two-color  work.     See  page  65. 


49-point  116 


30-point.     A  8112 


30-point.     B 


28-point  6014 

43 


The  Initials  of  the  ^DeVinne  <Press 
UNCIALS 


IB 


22-point 


49^4 


18-point 


trs0r>  im  in 


12-point 


10-point 


2634 


30-point 

This  uncial  shape  of  capital  can  be  used  with  roman  and  Black- 
letter,  either  as  an  initial  or  for  words  of  display,  or  as  an  aid  in 
spacing  and  justification.  It  is  an  accepted  form  in  church  work. 
Some  publishers  approve  of  it  in  their  advertisements  and  circu- 
lars, but  it  should  not  be  used  freely  for  ordinary  commercial 
printing.  The  larger  sizes  and  the  Decorated  30-point  were  de- 
signed and  made  for  the  special  use  of  the  De  Vinne  Press ;  the 
smaller  sizes  are  from  German  and  English  type-foundries. 


63 


Extreme  height,  13g  inches.     Cincinnati  No.  24 
Complete  alphabet 

44 


The  Initials  of  the  ^DeVinne  Press 

The  ordinary  two-line  letters  provided  by  type-founders,  with 
but  little  shoulder,  are  graded  so  that  they  advance  in  size  by 
two  and  four  points.  This  grading  is  entirely  insufficient  for  the 
different  linings  that  will  be  needed  for  different  sizes  and  cuts  of 
text  type  and  their  unavoidably  unequal  leading.  The  selection 
and  adjustment  of  a  true-fitting  initial  letter  call  for  much  dis- 
cretion and  not  a  little  skill  on  the  part  of  the  compositor. 

Sometimes  the  only  size  that  will  serve  is  found  in  the  capital 
letter  of  a  lower-case  font.  To  make  proper  use  of  this  letter,  it 
will  be  necessary  to  send  it  to  the  electrotype  foundry  and  have 
the  lower  shoulder  cut  off. 

If  this  is  not  done  an  unsightly  white  gap  appears  and  the  effect 
of  the  initial  is  damaged.  The  white  gap  made  by  this  lower 
shoulder  is  an  offence  even  to  the  uncritical  reader. 

There  are  other  expedients.  A  short  letter  like  I,  with  a  straight 
stroke,  can  be  cut  in  two  and  lengthened,  and  other  letters  may 
be  neatly  shortened  in  the  foundry  at  small  loss  of  time.  These 
are  troublesome  methods,  but  the  end  justifies  the  means.  In 
another  pamphlet  may  be  found  many  large  capitals  of  italic  and 
other  styles  that  have  been  lengthened  or  shortened  to  make  them 
serve  as  initials  for  paragraphs.  When  the  letter  cannot  be 
lengthened  or  shortened,  the  gap  so  produced  is  least  offensive  at 
the  top  of  the  initial. 

HE  FAC  Initial,  a  cheap  substitute  for  the  Pierced 
Initial,  is  made  by  combinations  of  small  borders 
about  an  interior  letter.  As  these  borders  are 
troublesome  to  construct  and  too  often  plainly 
show  their  joints,  the  Fac  Initial  is  seldom  made 
now.  To  be  suitably  decorative,  there  should  be  a  new  form  of 
border  for  each  new  initial,  but  suitable  styles  of  border  are  not 
always  at  hand. 

[HE  PIERCED  Initial,  a  hollow  square  of  engraved 
ornament  in  which  the  letter  of  any  type  can  be 
inserted,  was  a  favorite  form  a  hundred  years  ago, 
but  is  now  one  of  the  many  neglected  styles.  A  full 
series  of  pierced  initials  is  not  to  be  found  on  sale, 
and  the  designing  of  a  properly  mated  series  of  borders  will  be 
quite  as  difficult  as  a  special  engraving  of  letters  with  the  borders. 

45 


The  Initials  of  the  ^DeVinne  'Press 

HE  HIGH  or  UPSET  Initial  that  lines  at  its  foot  with  the 
first  line  of  text  and  projects  upward  above  this  first  line,  is  an 
old  form  of  merit,  but  seldom  used.  It  can  be  made  serviceable 
only  in  catalogues  and  open  matter  in  which  paragraphs  are 
separated  by  white  lines. 

FITNESS  is  also  needed  in  the  style  of  a  selected  initial  letter, 
whether  plain  or  decorated.  An  old-style  text  type  should  have 
an  old-style  two-line  letter ;  a  type  of  modern  cut  should  be  mated 
with  an  initial  of  similar  face.  This  is  not  easily  done.  All  that 
can  be  expected  of  the  compositor  is  that  he  will  do  the  best 
he  can  with  materials  that  are  available.  He  may  have  to  mate 
text  types  of  Caslon,  Cadmus,  or  Renner  with  initials  of  other  faces 
of  old-style  that  are  of  proper  height,  but  initials  so  selected  should 
not  present  the  appearance  of  dissimilarity  or  unfitness. 

The  two-line  letter  of  an  advertisement  is  usually  followed  by 
one  or  more  words  of  large  capitals  of  the  text  type.  In  book 
work  it  is  customary  to  follow  this  initial  with  small  capitals,  for 
it  often  happens  that  full  capitals  will  not  line  with  the  initial  at 
the  top  of  the  first  line.  By  old  usage,  a  large  initial  in  Black- 
letter  was  followed  in  its  first  line  by  a  word  partly  in  capitals  and 
partly  in  lower-case  of  the  Black-letter  text.  This  treatment  is 
not  approved  now.  Two  or  more  Black-letter  capitals  together 
are  a  disfigurement  to  the  composition,  yet  all  capitals  of  roman 
or  of  any  other  form  of  plain  letter  may  not  be  used  with  accept- 
ability. It  is  required  that  the  type  of  connecting  words  should 
be  of  quaint  form.  When  the  Uncials  here  shown  are  too  wide, 
the  thinner  styles  known  as  Glyptic,  Cabalastic,  Century,  etc., 
could  be  used  in  full  words.  These  styles,  not  in  case,  are  kept 
in  paper  packages,  and  may  be  selected  with  advantage  in  com- 
positions that  call  for  unusual  care  (see  Office  Specimen  Book 
for  specimens).  Care  should  be  taken  that  the  alien  faces  so 
substituted  shall  agree  in  some  feature  with  the  Black-letter  of 
the  text. 

The  Uncials  of  small  size,  shown  on  a  previous  page,  are  of 
service  as  connecting  letters  or  words  between  a  leading  large 
initial  and  the  text  type  that  follows,  as  aids  to  even-spacing  in  a 
Black-letter  text,  as  subordinate  initials  in  that  text,  and  even  as 
separate  lines  of  display.  They  can  be  used  with  propriety  in 
many  forms  of  modern  printing,  and  are  especially  favored  by 
churchmen  and  publishers. 

46 


The  Initials  of  the  foeVinne  "Press 


THE   MONASTIC 

The  Monastic  Initials  here  shown  are  the  designs  of 
William  Morris  and  Burne-Jones,  made  by  these 
artists  in  old  German  style  for  the  "books  of  the 
Kelmscott  Press.     They  are  in  a  series  of  six  sizes, 
but  the  alphabets  for  each  series  are  not  complete. 
Letters  not  in  case  will  be  furnished  on  request. 
When  a  real  need  arises,  intermediate  or  larger 
sizes  will  be  photo-engraved  to  order.   Some  of 
the  letters  are  provided  with  blocks  for  two  and 
three  colors. 

This  Monastic  style  of  initial  is  adapted  for 
texts  in  Satanick  or  in  any  of  the  earlier  forms 
of  Black.    It  is  not  so  well  adapted  for  texts 
of  small  roman  type  or  for  modern  faces  of 
Light-faced  Black. 

Each  letter,  as  a  rule,  is  of  a  form  easily 
identified,  even  when  it  is  of  unusual  shape. 
Note  also  that  it  has  about  it  a  ring  or  band 
of  white  as  an  aid  to  greater  perspicuity.  The 
decoration  attempted,  extremely  simple  and 
with  few  engraved  lines,  does  not  produce 
the  appearance  of  rudeness  or  coarseness. 

We  have  also  a  few 
initial  letters  in  the 
medieval  style  of  de- 
sign, but  in  modern 
style    of    engraving, 
showing  white  letters 
within  a  pictorial 
framework.  The 
Medieval  Initial 
is  just  as  fairly 
presented  in  the 
following  pages 
showing  Caxton 
and  old  French 
initials. 


96  points 


71)  points 


The  Initials  of  the  *De  'Vinne 


134  inches  Caslon  No.  16  68  points 

The  largest  size  of  134  inches  is  complete. 

The  designs  of  Ratdolt,  a  printer  at  Venice  between  1476  and 
1487,  and  eminent  as  the  best  typographic  decorator  of  his  time. 

48 


The  Initials  of  the  <DeVinne  Press 
ZEESE  No.  23 

The  caps  and  the  pendants  to  these  letters 
can  be  used  wisely  only  in  very  open  dis- 
play. Never  insert  the  pendants  in  close 
or  solid  composition.  The  side  decoration 
should  be  kept  in  the  margin  at  the  left 
when  it  is  possible. 

These  attached  hair-line  decorations  may 
be  of  service  as  tail-pieces  for  short  pages  or 
in  other  gaps.  Some 
of  them  will  need  a 
horizontal  hair-line 
brass  rule  at  the 
broader  side. 

A  decorated  ini- 
tial is  most  useful  . 

s 

when  on  a  square 
metal  body.  Those 
on  bodies  of  an  ir- 
regular form  with 

pendants  of  trailing  decoration  at  top, 

side,  or  foot  should  be  carefully  notched  in 

the  electrotype  foundry  with  true  right 

angles.   Notching  with  hand  saw  and  file 

produces  notches  that  throw  types  off  their  feet. 


ZEESE  No.  22 


Series  22  and  23  have 

complete  alphabet 
Color  blocks  f  or  B  H  T 


49 


The  Initials  of  the  <De  Vinne  "-Press 


72  points.     Mayeur  No.  699 
Incomplete  alphabet 


58  points.     Caslon  No.  21 
Complete  alphabet.     Color  blocks  for  C  I  P  T 


1*8  inches.     Caslon  No.  10 
Complete  alphabet.     Color  blocks  for  F  S  T 


Initials  with  white  letters  within  a  solid  or  nearly  solid  back- 
ground are  much  improved  in  appearance  when  a  separate  block 
is  cut  for  the  letter  only,  so  that  it  can  be  printed  in  a  brighter 
color  of  ink.  Scarlet  red  is  the  color  most  approved,  but  the 
colors  may  be  reversed  with  good  effect — black  for  the  letter  and 
red  for  the  background. 

In  compact  composition,  a  properly  selected  initial  is  not  so 
wasteful  of  space  as  the  ordinary  displayed  heading  with  its 
unavoidable  blank  above  and  below.  The  initial  occupies  less 
space,  and  to  the  listless  reader  is  more  inviting. 

50 


The  Initials  of  the  <DeVinne  '•Press 


22  points.     Bruce  No.  10 
Complete  alphabet 


30  points.     Caslon  No.  22 
Complete  alphabet 


30  points.     Bruce  No.  11 
Complete  alphabet 


42  points.     Bruce  No.  12 
Complete  alphabet.     Color  blocks  for  N 


52  points.     Mayeur  No.  697 
Complete  alphabet 


72  points.     Audsley 
B  and  I  are  the  only  other  letters 

51 


The  Initials  of  the  <De  Vinne  <Press 


inches.    Caslon  No.  13 
Complete  alphabet 


72  points.    Chancery.    Chiswick  Press 
Complete  alphabet 

52 


The  Initials  of  the  <E)eVinne  <Press 


OLD 

FRENCH 


l1^  inches 
Incomplete 


lis  inches 
Incomplete 


53 


The  Initials  of  the  <DeVinne  'Press 
CAXTON   INITIALS 


Photographed  from  Caxton  books 
72  points.     Incomplete  alphabet.     I  and  J  take  the  same  character 

54 


The  Initials  of  the  ^eVinne  '•Press 
OLD  FRENCH 


138  inches 

Romance  Initial 

Complete  alphabet 

Color  blocks  for  C 


The  Initials  often 
called  Caxton,  taken 
from  Caxton  originals, 
show  many  evidences 
of  French  design  and 
engraving. 

The  Romance  Ini- 
tials, of  which  we  have 
all  the  letters,  are 
well  adapted  for  illus- 
trations to  books  that 
describe  old  French 
habits  and  manners. 
Some  of  the  letters 
have  blocks  for  added 
colors,  and  these  added 
blocks  are  really  need- 
ed to  bring  out  fully 
the  intent  of  the  de- 
signs. 


55 


138  inches 


138  inches 


inches 
Incomplete 


The  Initials  of  the  <DeVinne  Press 


60  points.     Eeed  No.  1 
Complete  alphabet.     Color  blocks  for  B  D  I  J 


36  points.     Eeed  No.  2 
Complete  alphabet.    Color  blocks  for  B  I  J 


lig  inches 
Incomplete  alphabet 


22  points.     Conner 
Complete  alphabet 


28  points.    ^Esthetic.     A.  T.  F.     Complete  alphabet 
We  have  this  Esthetic  face  on  bodies  of  24-  and  16-point 


It! 


38  points.     Bruce  No.  13 
Incomplete  alphabet 

56 


The  Initials  of  the  ^eVinne  'Press 


32  points.     Caslon  No.  3 
Incomplete  alphabet.     Color  blocks  for  T 


36  points.     A.  D.  F.  &  S. 
Complete  alphabet 


62  points.     Bauer 
Complete  alphabet.     Color  blocks  for  S 


60  points.     Cincinnati  No.  48 
Complete  alphabet.     Color  blocks  for  A  M 


30  points.     Cincinnati  No.  46 
Complete  alphabet 


24,  points.     Cincinnati  No.  45 
Complete  alphabet 

57 


The  Initials  of  the  <DeVinne  Press 


70  points.     Bauer 
Incomplete  alphabet 


60  points.     Conner  No.  11 

Complete  alphabet.     Color  blocks  for  A  T 

Specially  made  for  the  largest  size  of  Church-text  lower-case 


63  points 
Complete  alphabet.     Color  blocks  for  T 


Incomplete  alphabet.    Some  duplicates 


48  points 
Complete  alphabet 

58 


The  Initials  of  the  <De  Vinne  Press 


74  points.     Caslon  No.  12.     Complete  alphabet 


138  inches 

Old  English 

Incomplete  alphabet 


52  points 

ISth-Century  l^  inches.    Old  English 
Old  English  Incomplete  alphabet 

Incomplete  Color  blocks  for  A  D 

59 


The  Initials  of  the  <DeVinne  Press 


inches 
Incomplete  alphabet.     Color  blocks  for  N 


inches.     No.  3 


inches.     Complete  alphabet.     Color  blocks  for  A  D  F  M  O  S  T 


70  points.     Incomplete  alphabet.     Color  blocks  f  or  E  H  M  O  T  W  Y 

60 


The  Initials  of  the  ^DeVinne  '•Press 


52  points 
Complete  alphabet.     Color  blocks  for  I  W 


60  points.     Zeese  No.  17 
Complete  alphabet.     Color  blocks  for  E  I  S  T 


48  points.     Zeese  No.  18 
Complete  alphabet.     Color  blocks  for  A  M 


A  MITRED  rule  border,  single,  double,  or  parallel,  to  inclose 
the  engraved  initial  was  once  considered  by  publishers  as  a 
much-needed  attachment  when  it  had  not  been  so  made  by  the 
engraver.  This  method  of  fencing  in  the  letter  is  not  in  much 
favor  now.  It  may  damage  more  than  improve.  Do  not  inclose 
an  initial  in  a  rule  border  without  request.  Exception  must 
be  made  for  an  initial  of  irregular  form  (as  in  L  or  P)  that  is  to 
be  printed  upon  a  ground  tint  made  up  from  light-faced  com- 
bination border :  a  rule  around  the  tint  border  so  constructed  is 
really  needed  to  give  regularity  of  outline.  But  do  not  attempt 
to  improve  a  letter  in  one  color  only  by  the  addition  of  a  line  or 
a  combination  border. 

61 


The  Initials  of  the  'DeVinne 


74  points.     Caslon  No.  12 
Complete  alphabet.     Color  blocks  for  T 


inches.     Incomplete  alphabet 


1*4  inches.     Caslon  No.  11 
Complete  alphabet.     Color  blocks  for  T  W 


134  inches.     Caslon  No.  19 
Complete  alphabet.     Color  blocks  for  N  W  Y 

62 


The  Initials  of  the  <DeVinne  Press 
TEONER'S   DANISH 


inches 
Incomplete  alphabet 


66  points  1^4  inches 

Incomplete  alphabet       Incomplete  alphabet 
Color  blocks  for  F 


66  points.     D.  &  Co. 
Incomplete  alphabet 


56  points 
Incomplete  alphabet 


50  points 
Complete  alphabet 


42  points 
Complete  alphabet 

63 


The  Initials  of  the  <DeVinne  Press 


1X4  inches 


74  points 

Incomplete  alphabet 
Color  blocks  for  A 


inches 


46  points.     Mayeur  No.  735 
Complete  alphabet 


36  points.     Mayeur  No.  761 
Complete  alphabet.    Color  blocks  for  C  T 


32  points.     Mayeur  No. 
Complete  alphabet 


46  points.     Bruce  No.  3 

Complete  alphabet.     Color  blocks  for  N  P 

The  smaller  sizes  may  need  the  letter  in  another  color 

64 


The  Initials  of  the  ^DeVinne  Press 
FOR  COLOR  WORK 


Cut  for  Seven-line  Moxon  (see  Black-letter).     Incomplete  alphabet 


(OTJTMIIE  TYPE 


36  points.     Engraver's  Open.     Bruce 
Complete  alphabet 


Color  outline  of  Uncial  of  60  points  on  page  43.     Complete  alphabet 


48  points.     Cut  for  Filigree.     Incomplete  alphabet 


48  points.     Filigree.     Complete  alphabet 

65 


The  Initials  of  the  'DeVinne  'Press 
INITIALS  WITH  TRAILS 


This  letter 
E  has  blocks 
for  color  only 
in  the  square 
that  has  the 
letter. 


All  the  large  in- 
itials on  this  page 
have  been  made 
indistinct  with  excess 
of  ornament  and  are 
relatively  unpleasing 
when  printed  in  black 
ink  only.  They  need 
added  color  to  show 
a  distinction  between 
the  letter  and  the  or- 
nament. Select  them 
only  when  specially 
ordered.  In  any  kind 
of  composition  the  left 
side  of  the  letter  should 
be  made  to  line  ver- 
tically with  the  type 
work  of  the  paragraph. 
Ornamenting  lines  be- 
yond the  letter  should 
always  project  in  the 
margin.  The  irregular 
projections  at  the  top, 
right  side,  and  foot  of 
the  letter  call  for  cor- 
responding changes  of 
measure  in  the  type 
work,  and  this  irregu- 
larity is  always  un- 
satisfactory. 

66 


Extreme  height,  2^  inches 


72  points 


60  points 


Extreme  height,  23g  inches 


The  Initials  of  the  ^eVinne  'Press 
INITIALS  WITH  TRAILS 


54  points. 
S.  B.  &  Co. 
Color  blocks 
f  or  A  D  E  P 


Do  not  add  the  caps  and 
pendants  of  these  letters 
without  a  special  order. 
They  are  more  service- 
able as  tail-pieces  to  short 
pages  in  small  books. 


Tints  for  various  colors  cut  for  initial 


67 


The  Initials  of  the  ^DeVinne  '•Press 
INITIALS  WITH  TRAILS 

Text  type  must  line  with  letter 


Extreme  height,  lig  inches.     Bruce  No.  12 
Incomplete  alphabet 


Extreme  height,  li^  inches.    Bruce  No.  22 
Incomplete  alphabet 


Extreme  height,  li^  inches.     Hagar 
Incomplete  alphabet 


When  it  is  possible,  widen  the  measure,  and  let  the  purely  deco- 
rative lines  of  the  initial  stray  out  in  the  margin,  keeping  the 
letter  part  in  vertical  line  with  the  type  of  the  text. 


68 


The  Initials  of  the  <DeVinne  <Press 
INITIALS  WITH   TRAILS 

Text  type  must  line  with  letter 


Extreme  height,  27  points.     M.  &  E.  No.  3 

Complete  alphabet 
Useful  with  very  small  but  not  with  any  large  text  type 


Extreme  height,  48  points.     Conner  No.  10 
Incomplete  alphabet 


Extreme  height,  48  points.     Bruce  No.  14 
Incomplete  alphabet 


Extreme  height,  1*8  inches.     A.  D.  F.  &  S.  No.  13 
Incomplete  alphabet 


The  obscurity  of  the  letters  in  Conner  No.  10  and  Bruce  No.  14 
warrants  the  new  teaching  that  letters  should  always  be  simple 
and  readable,  and  that  decoration,  if  needed,  should  be  outside 
of  the  letter.  These  initials  should  not  be  selected  without  order. 

69 


The  Initials  of  the  ^DeVinne  'Press 


INITIALS  WITH   TRAILS 

Text  type  must  line  with  letter 


Extreme  height,  2*2  inches 
Complete  alphabet 

V^g*       <^g£       **& 

<8  :m  r"<tx 


&  <$ 


Extreme  height,  60  points.     Bruce  No.  9 


Extreme  height,  17g  inches.     No.  18 
Incomplete  alphabet 

70 


The  Initials  of  the  ^DeVinne  'Press 
INITIALS  WITH   TRAILS 


Extreme  height,  2^  inches.     Complete  alphabet 


Extreme  height,  60  points.     Bruce  No.  8 


Extreme  height,  17g  inches.     A.  D.  F.  &  S.  No.  12 
Incomplete  alphabet 

When  practicable,  let  the  decoration  at  top  project  above  the  first 
line  of  text  type.  Make  the  letter  of  the  initial  line  with  the  text. 
The  decoration  at  the  left  should  also  project  in  the  margin. 

71 


The  Initials  of  the  <De  Vinne  '•Press 


SINGLE 
LETTERS 


Cut  for  two  colors 


The  Initials  of  the  ^eVinne 
INITIALS  WITH  TRAILS 


73 


SILHOUETTE 


Extreme  height,  2*4  inches.     J.  K.  No.  24.     Complete  alphabet 

Italian  Renaissance.    Useful  in  bold  and  open  display 

Not  so  effective  in  solid  or  compact  composition 

74 


The  Initials  of  the  ^DeVinne 


MOSTLY  FROM  REGULAR  FONTS  WITH  ATTACHED 
LOWER-CASE.     THEY  CAN  BE  USED  FOR  INITIALS 


48  points.     Black 


60  points.     Black 


36  points.     Black 


72  points.     Sloping  Black 


48  points.     Anglo-Saxon 

75 


The  Initials  of  the  <DeVinne  Press 


60  points.     Anglo-Saxon 


1X4  inches.     Anglo-Saxon 


13g  inches.     Ornamented  Black 


60  points.     Moxon 
Has  solid  centres  for  some  letters.     See  page  65 


28  points.     Church-text 

76 


The  Initials  of  the  ^DeVinne  "Press 
FILIGREE 

From  American  Type  Founders  Co. 


48  points 


36  points 


24  points 


20  points 


92 


24  points 


18  points 


66 


4512 


3712 


48*2 


34 


12  points 


25 


20^2 


The  Initials  of  the  <DeVinne  'Press 
BRUCE  No.  1074 


18  points 


1812 


24  points 


2534 


36  points 


'ff^7o'G^a)'a>3S1 

G> 


48  points 


491-4 


In  a  similar  style  of  ornamentation,  we  have  a  series  of  Black- 
letter  (Bruce  532),  in  three  sizes  of  Double-pica  or  24-point, 
Double  Great-primer  or  36-point,  and  Canon  or  48-point,  with 
attached  lower-case.  As  this  face  is  rarely  requested,  it  is  not 
kept  in  case.  It  must  be  used  only  when  specially  ordered  and 
when  no  other  style  will  serve. 


30  points 

Of  this  face  we  have  six  smaller  sizes,  which  will  be  of  service  as 
connecting  letters  between  a  large  initial  and  the  smaller  text  type. 

78 


4834 


The  Initials  of  the  QeVinne  Press 
SINGLE  LETTERS 


The  Initials  of  the  <DeVinne  Press 
SINGLE  LETTERS 


The  Initials  of  the  <De  Vinne  Press 
SINGLE   LETTERS 


West 


Chancery 


81 


BLOCKS  FOR  TWO  COLORS 


MM 

v 


West 


82 


The  Initials  of  the  'De'Vinne  Press 
BLOCKS  FOE  COLORS 


83 


The  Initials  of  the  <DeVinne  'Press 
BACKGROUNDS  FOR  INITIALS 


No.  14 


No.  16 


No.  18 


No.  15 


No.  17 


No.  13 


THE  backgrounds  here  shown  were  designed  and  engraved 
for  use  in  ecclesiastical  printing,  but  they  can  be  used  for 
ordinary  work.     Some  of  the  light-lined  borders  of  the  hoiise 
that  can  be  arranged  in  different  shapes  will  be  found  equally 
useful  as  ground  tints  for  initials. 

84 


The  Initials  of  the  <De  Vinne  'Press 
BACKGROUNDS  FOR  INITIALS 


No.  11 


No.  12 


THESE  backgrounds,  when  separately  printed  in  pale  color, 
provide  a  squared  and  symmetrical  form  for  initial  letters 
of  irregular  shape  that  have  no  attached  exterior  decoration. 
They  cover  up  the  unsightly  gaps  of  white  space  made  by  their 
irregularities,  and  keep  the  page  so  treated  in  harmony  with  the 
compact  type  of  the  text. 

If  the  initial  letter  is  to  be  printed  in  scarlet,  the  color  for  the 
separately  printed  ground  tint  may  be  in  a  paler  scarlet,  for  the 
decorative  lines  of  the  background  will  not  be  an  offence  if  they 
show  faintly  in  the  print  of  the  letter ;  but  if  contrasting  color  be 
selected  for  this  background,  the  plate  so  selected  should  be 
electrotyped  to  receive  a  transfer  of  the  letter  only,  and  the 
letter  so  transferred  must  be  entirely  cut  out  of  the  plate.  This 
cutting  out  will  prevent  a  slight  but  unpleasing  appearance  of 
the  decorative  lines  through  the  letter. 


PIERCED  INITIALS 


These  blocks  are  mortised  so  that  they 
can  admit  any  let- 
ter. See  page  87  for 
two  illustrations  of 
constructed  squares 
or  panels  of  type 
borders. 

85 


The  Initials  of  the  ^DeVinne  'Press 
BACKGROUNDS  FOR  INITIALS 


m 


No.  1  No.  2  No.  3  No.  4  No.  5  No.  6 


No.  7 


No.  8 


No.  9 


No.  10 


No.  23 


No.  19 


No.  20 


The  Initials  of  the  ^DeVinne  <Press 


HOME-MADE 

ORATED  INITIALS  may  be  con- 
structed by  the  compositor  from  pieces 
of  combination  border  that  fully  fill  the 
body,  but  the  difficulty  met  in  finding 
border  faces  sufficiently  light  in  color  and 
in  needed  variety  is  a  discouragement. 
The  effect  produced  seldom  warrants  the 
cost  of  labor  and  of  mitred  brass  rule. 
As  a  general  rule,  the  engraved  initials 
shown  on  previous  pages  will  be  much 
more  pleasing  to  the  publisher  and  the 
reader  when  they  have  been  wisely  se- 
lected to  mate  with  the  matter  of  the  text. 


HEN  BORDERS  are  insufficient  or  impracticable,  the 
stock  ornaments  of  type-founders  may  be  used  to  good 
advantage,  but  they  should  be  carefully  selected  and 
not  be  incongruous  in  the  descriptive  matter  of  the 
text.  Ornaments  of  general  adaptability  may  be  seen 
in  the  second  part  of  the  Office  Specimen  Book,  that 
shows  Borders,  Head-bands,  Tail-pieces,  etc.  The 
ornaments  shown  on  pages  332-3  will  be  found  gen- 
erally acceptable.  Medieval  designs  on  pages  323-5 
will  be  of  service. 


A  CONSTRUCTED  INITIAL  surrounded  with 
jL\_  a  narrow  lace-like  edging  that  has  many  points 
turning  outward  is  not  so  pleasing 
as  an  outer  border  of  plain  line  only. 
A  square  outline  to  the  construction 
will  be  more  acceptable.  Perfect 
squares  of  fine  and  close  engraving 
as  in  8,  22,  and  26  (see  opposite 
page),  or  tile  patterns  as  in  10  and 
19,  will  be  more  manageable.  NO.  27 

87 


No.  28 


The  Initials  of  the  <De  Vinne  'Press 

THE  INTENDED  EFFECT  of  a  paragraph  or  a  page  composed 
in  Old  Black-letter  will  be  damaged  if  it  is  preceded  by  an 
initial  of  modern  design,  even  if  that  initial  has  been  carefully 
drawn  and  engraved.     The  sturdy  initials  of  Morris  or  the  quaint 
forms  of  Caxton  or  of  Old  French  will  be  more  acceptable. 

THE  ROMANCE  INITIALS  are  complete  with  all  letters,  and 
for  some  we  have  the  blocks  for  three  colors.  Colors  are  needed  to 
develop  the  merit  of  the  design.  They  will  be  found  of  good  ser- 
vice in  illustrating  poems  and  troubadour  romances,  or  other 
writings  concerning  the  French  literature  of  the  fifteenth  century 
or  of  earlier  periods. 

THE  STUART  INITIAL  No.  1  is  an  acceptable  initial  for 
plays,  poems,  or  stories  of  English  literature  during  the  seven- 
teenth century.  The  designs  are  in  the  spirit  of  that  period. 

CASLON  INITIALS  No.  12  are  also  English,  but  of  the  style 
of  the  eighteenth  century.  They  show  more  careful  engraving,  but 
lack  the  spirit  of  the  Stuart  Initials. 

THE  WEST  INITIALS,  of  which  we  have  the  original  designs, 
show  a  good  form  of  the  eighteenth  century.  Of  the  small  size  we 
have  a  complete  alphabet.  A  larger  size  is  not  complete,  but  it 
has  some  letters  cut  for  two  colors.  The  smaller  size  loses  by 
its  reduction  and  does  not  fairly  show  the  merit  of  the  design. 

ITALIC  or  inclined  capitals  of  any  kind  are  needed  as  initials 
only  in  compositions  of  nicety.  For  an  ordinary  book  with  pref- 
ace or  paragraph  in  italic,  begin  with  a  regular  two-line  roman 
letter  and  connect  on  the  first  line  with  a  word  or  words  in  capitals 
of  the  roman  text  type.  That  done,  set  the  rest  of  the  work  in  italic 
lower-case.  A  collection  of  irregular  two-line  letters  of  italic  form 
that  have  been  lengthened  or  shortened  to  keep  them  on  line  with 
text  type  may  be  seen  in  another  pamphlet. 

CAPITALS  of  ENGROSSING  or  of  OLD  FRENCH  SCRIPT, 
in  some  kinds  of  job  work,  may  be  a  more  pleasing  substitute  than 
italics  for  initials.  A  capital  of  body  48  or  smaller  can  be  con- 
nected on  first  line  of  text  type  with  a  word  of  the  same  face  of 
capitals  on  bodies  10, 12,  or  18,  and  will  be  more  satisfactory  than 
the  ordinary  italic  with  angles  that  are  irregular,  and  kerns  that 
break  off  or  make  ungainly  gaps. 

88 


The  Initials  of  the  ^eVinne  'Press 

SILHOUETTE  INITIALS  in  Italian  Renaissance  style  may  be 
properly  selected  with  advantage  for  some  kinds  of  books  and 
pamphlets  and  for  ordinary  commercial  job  work.  These  initials, 
of  which  we  have  all  the  characters  with  some  detachable  pieces, 
are  not  to  be  recommended  for  any  literary  work  of  the  fifteenth 
century,  for  this  silhouette  style,  although  based  on  old  models, 
is  thoroughly  modern  in  treatment.  Its  pendants  and  flourishes 
will  prove  an  annoyance  in  compact  composition. 

OF  INITIALS  WITH  TRAILS  or  added  pendants  we  have  a 
large  variety,  with  complete  alphabets,  but  many  are  over-decorated 
and  require  the  aid  of  color  to  show  the  real  intent  of  the  designer. 
The  smaller  sizes  with  black  centres  are  most  useful.  Flourishes, 
trailing  vines,  or  profuse  outside  decorations  interfere  with  type 
and  make  trouble  without  improvement.  With  an  initial  of  this 
class,  composition  should  begin  in  a  measure  wider  than  that 
selected  for  the  text  type,  and  the  flourishes  or  decoration  at  the 
left  side  should  overhang  in  the  margin,  so  that  the  letter  on  that 
side  shall  line  vertically  with  the  type  work. 

Initials  with  trails  are  not  adapted  for  the  plain  composition  of 
squared  and  symmetrical  pages.  They  may  be  used  to  a  limited 
extent  in  pages  of  poetry  and  in  open  display  work,  but  in  all 
cases  the  designer's  intended  irregularity  should  be  aided  by 
putting  the  decorative  part  of  the  initial  in  the  margin. 

Profusely  decorated  initials  of  Black-letter  are  entirely  out  of 
fashion,  equally  disliked  by  publishers  and  readers.  Some  are  of 
high  merit,  but  they  should  not  be  selected  without  order. 


FANTASTIC  INITIAL  in  which  ornamentation  is  ex- 
tended to  the  right  and  over  the  top  of  the  text  types,  and 
in  some  designs  down  the  right  side  of  the  page,  is  another 
caprice,  now  in  deserved  discredit. 

The  separate  flourishes  made  to  be  attached  to  initial  letters 
should  never  be  added  to  the  initials  for  which  they  are  provided 
without  order.  They  may  be  of  value  as  tail-pieces  at  ends  of 
short  pages  or  as  stop-gaps  in  bleak  places. 

89 


Two-line  Letters 

of  Roman  Form 


The  Initials  of  the  <DeVinne  'Press 
TWO-LINE  LETTERS 

/CONDENSED  SHAPES  of  type  for  the  main  lines  of  title- 
\J  pages  are  gradually  passing  out  of  favor.  Preference  is 
now  given  to  capital  letters  of  full  width  and  of  the  same  shape 
as  the  type  of  the  text  that  follows.  They  are  undeniably  plainer 
and  more  consistent  as  to  style. 

Some  title  matter  seems  to  compel  the  use  of  condensed  type. 
For  this  purpose  prefer  the  wider  shape  of  the  series  shown  on 
page  97.  For  a  title-page  of  few  lines  avoid  all  condensed  letter. 
Many  words  that  have  to  be  crowded  into  one  pinched  line  will 
make  a  better  appearance  in  two  lines  of  same  face  and  style. 

Publishers  ask  for  two-line  letters  of  the  same  style  as  that  of 
the  text  type  which  they  introduce.  This  is  not  easily  done.  Type- 
founders do  not  make  a  complete  series  of  two-line  letters  for 
every  new  cut  of  text  type,  or  even  for  the  Real  Old-style  (or  Caslon 
Old-style,  as  it  is  often  called).  Their  gradation  is  irregular,  and 
there  are  not  sizes  enough  to  line  neatly  with  every  combination 
of  solid,  thin-leaded,  and  thick-leaded  text.  The  faces  of  Ancient 
Roman,  Bradford,  MacFarland,  and  Fifteenth  Century  seem  to  be 
the  most  serviceable  approximations.  Capitals  of  the  larger  sizes 
of  Real  Old-style  are  to  be  had  only  in  fonts  that  have  attached 
lower-case,  and  the  larger  they  are  the  more  need  there  is  of  cut- 
ting off  the  shoulder  that  produces  an  ungainly  gap. 

When  an  Old-style  text  type  is  large  and  leaded,  and  needs  a 
large  initial,  the  regular  two-line  letters  of  Elzevir  face  may  be 
approved,  but  they  are  not  so  pleasing  for  solid  composition. 

Modernized  Old-style  capitals  are  more  used  than  any  other  for 
two-line  letters  in  all  kinds  of  Old-style  composition.  Few  can 
detect  the  points  of  difference.  For  an  initial,  the  condensed  shape 
is  to  be  preferred.  A  five-  or  six-line  pica  initial  of  full  width  always 
shows  too  much  of  white  both  within  and  without  the  letter.  Of 
these  condensed  letters  of  large  size  we  have  a  fair  variety,  but 
with  attached  lower-case.  Few  type-founders  make  in  full  series 
two-line  letters  of  larger  size  than  36-point,  but  some  of  these 
larger  sizes  are  to  be  had  of  the  type-founder  when  they  are  really 
needed. 

93 


The  Initials  of  the  <DeVinne  Press 
TWO-LINE 

(The  width  of  the  alphabet  is  specified  in  the  margin,  in  ems  of  12-point) 
SERIES  105  of  Bruce  Foundry 

SELECT  FOR  THE  TITLE-PAGES  OF  BOOKS 

ll-point,  old  body  20 

SOMEWHAT  FATTER  THAN  THE  ABOVE 

ll-point  22 


WITH  TEXTS  SET  IN  NO.  11  ROMAN 

12-point 


PLAIN  WITHOUT  BEING  BOLD 

14-point,  old  body  27 

THICK  STROKES  NOT  BLACK 

16-point,  old  body  2  9  84 

SERIFS  NOT  SHORTENED 

18-point,  old  body  33 

COMPRESSED  A  LITTLE 

20-point,  old  body  37 

OF  PLEASING  FORM 

22-point,  old  body  41 

MUCH  APPROVED 

24-point,  old  body  48^4 

94 


The  Initials  of  the  ^eVinne  '•Press 
TWO-LINE 

SERIES  105  of  Bruce  Foundry 

IN   APPROVED 


28-point  55 


PROPORTION 


36-point  6334 

SERIES  153  of  A.  T.  F. 


GRACEFUL 


48-point  7313 


IRREGULARS,  NOT  OF  A  FULL  SERIES 

FOR  TITLE-PAGES 

24-point.    Conner 

OF  BROADER  FACE 

22-point,  old  body  43 

SERIFS  ARE  SHORTENED 

18-point  34 


Intermediate  or  larger  sizes  can  be  made  to  serve  as  two-line 
letters  by  cutting  off  the  lower  shoulders  of  capitals  that  have 
been  fitted  up  with  a  mated  lower-case.  See  Text  Types. 

95 


The  Initials  of  the  ^DeVinne  'Press 
TWO-LINE  CONDENSED 

From  New  York  type-foundries 

THIS  CONDENSED  SHAPE  OP  ROMAN  CAPITAL  IS  A  VERY  CONVENIENT  LETTEB 

6-point,  old  body.    Conner  984 

FOR  THE  TITLE-PAGES  OF  BOOKS  AND  WAS  FIRST  MADE  ABOUT  1830 

9-point,  old  body.     Bruce  No.  121.     Two-nick 

MADE  IN  A  FULL  SERIES  BY  THE  DIDOT  PRINTING  HOUSE,  PARIS 

9-point,  old  body.     Farmer.     Three-nick 

IT  MET  WITH  THE  FULL  APPROVAL  OF  MANY  PUBLISHERS 

10-point,  old  body.     Bruce  No.  121  1313 

TITLE  NOT  GOOD  WITHOUT  CONDENSED  LETTERS 

12-point,  old  body.     Bruce  No.  121  16io 

PICKERING  OF  LONDON  DID  NOT  LIKE  IT 

16-point,  old  body.     Farmer  No.  2  20 

HE  PREFERRED  TYPES  OF  WIDTH 

20-point,  old  body.     Farmer  No.  2  24i.> 

THESE  WERE  EFFEMINATE 

24-point.     Farmer  No.  2  3913 

AND  LACKING  IN  CLEARNESS 

28-point,  old  body.     Farmer  2884 

IF  EVER  SO  GRACEFUL 

36-point.     Farmer  No.  2 

96 


The  Initials  of  the  ^DeVinne  '•Press 
TWO-LINE  CONDENSED 

From  American  Type  Founders  Co. 


THIS  STYLE  OF  A  CONDENSED  ROMAN  CAPITAL  IS 

10-point  No.  1  16 


WIDER  AND  TO  BE  PREFERRED  FOR  TITLES 

12-point  No.  1 

BY  THOSE  WHO  LIKE  A  THIN  LETTER 

14-point  No.  1 


FOR  THE  SMALLER  SIZES  OF  TYPE 

16-point  No.  1  24 

A  PINCHED  FORM  IS  DISLIKED 

18-point  No.  1  2614 

IN  TEXTS  OE  TITLE-PAGES 

20-point  No.  1  30^ 

WHEN  LETTER  IS  LARGE 

22-point  No.  11  32 

THINNESS  IS  PROPER 

24-point  No.  1  38 

TALL  AND  STATELY 

30-point  No.  1  45 

97 


The  Initials  of  the  De  Vinne  'Press 
CONDENSED 

CONNER'S  STYLE  OF  TWELVE -POINT  TYPE 

12-point.   Conner  19 

THIS  SPANS  TWO  LINES  OF  MINION 

14-point,  cut  down.     A.  T.  F.  Co.  221% 

IRREGULAR  BODY.    CAPS  CUT  DOWN 

14-point,  cut  down.     A.  T.  F.  Co.  2134 


TWO-LINE  OLD-STYLE 

From  Bruce  Type  Foundry 

OF  LIGHTER  FACE 

20-point,  old  body.     No.  100 

NEEDS  BLANKS 

24-point,  old  body.     No.  100 

SKELETON 

36-point,  old  body.     No.  100  76*3 

Other  sizes  of  Two-line  Old-style  can  be  had  by  cutting 
off  the  shoulders  of  the  capitals  provided  with  lower-case 
sorts.  See  Roman  Capitals  on  an  advanced  page. 


98 


The  Initials  of  the  'De  Vinne  'Press 
HALF-TITLE 

From  American  Type  Founders  Co. 


STEMS   ABOUT   HALF  THE  WIDTH  OF  THOSE    OF   TITLE  TYPE 

6-point,  old  body 


EXCEEDS    STANDARD    WIDTH,    BUT   IS  NOT    OBESE 

8-point,  old  body  16  12 

FULL  WIDTH,  YET  WITHOUT  EXPANSION 

10-point,  old  body  2012 

FOB  HEADINGS   IN   SOLID  WORK 

ll-point,  old  body  2684 

IF  TITLE  TYPE  IS  TOO  THICK 

12-point,  old  body  28*2 

OR  PLAIN  ROMAN  TOO  THIN 

14-point,  old  body  31 

STRENGTH  AND    GRACE 

16-point,  old  body  34 


The  face  to  be  preferred  for  matter  set  solid.  Has  arable  figures 
for  all  the  sizes.  Larger  sizes  of  a  similar  face  may  be  found  in 
the  No.  13  series  of  Bruce  Foundry,  but  if  they  are  used  as  two- 
line  letters,  the  shoulder  at  the  foot  of  the  letter  must  be  cut  off. 
When  this  face  has  been  selected  for  the  main  display  line  of  a 
title-page,  avoid  the  use  on  that  page  of  any  form  of  perceptibly 
condensed  type.  When  put  together,  the  broad  face  and  the 
pinched  face  make  a  discord,  but  the  Half-title  and  the  moderately 
condensed  105  series  may  be  used  on  one  page  with  acceptability. 

99 


The  Initials  of  the  ^DeVinne  <Press 
ANCIENT  ROMAN 

From  a  German  foundry.    German  point-bodies 


THIS  SERIES  HAS  ALSO  GERMAN  ACCENTS  FOR  SOME  VOWELS 

Body  8  1313 

ARABIC  FIGURES  ARE  PROVIDED  FOR   LARGER  SIZES 

Body  9  1513 

IN  TITLE-PAGES  OF  ROMAN  LETTER  WITH  LINES 

Body  10  17 

MARKED  FOR  RED  INK  SELECT  THIS  FACE 

Body  12.    A  1934 

ITS  BOLD  LINES  SHOW  THE  COLOR 

Body  12.     B  24 

MATES  BOLD  OLD-STYLE 

Body  16  3434 

ANTIQUE  PROXIES 

Body  20  4412 

NOT  TOO  BOLD 

Body  24  52 

MODERATE 

Body  36 

Ancient  Roman  has  no  signs  for  $  or  £,  and 
no  accents  for  sizes  larger  than  12-point. 

100 


The  Initials  of  the  ^DeVinne  "Press 
ANCIENT  KOMAN 

From  a  German  foundry.    German  point-bodies 


REPORT 


Body  48  100^ 


NEVER 


Body  60  12212 


DUTY 

Body  72  145 

The  Accents  and  Figures  of  Ancient  Roman 

AAAA    EEE     666     u    gfi 

1  234567890 

The  MacFarland  face  (which  see  among  Roman  text  types)  has 
many  of  the  peculiarities  of  the  Ancient  Roman,  but  it  has  an 
attached  shoulder  that  unfits  the  capital  for  use  as  a  two-line. 

The  Bradford,  with  a  lower-case,  is  the  American  reproduction 
of  the  German  original. 

The  Fifteenth  Century,  in  six  sizes,  is  an  imitation  of  a  crude 
type  made  by  some  early  printer.  It  finds  favor  among  adver- 
tisers, but  it  is  not  recommended  for  an  initial  in  book-work. 

101 


The  Initials  of  the  <De  Vinne  '•Press 
OLD-STYLE  CONDENSED 

From  American  Type  Founders  Co. 

THIS  INITIAL  SERIES  CONSISTS  OF  NINE  SIZES 

10-point,  old  body  17*2 

HAS  FIGURES  FOR  ALL  THESE  SIZES 

12-point,  old  body  22 

DOES  NOT  HAVE  USUAL  ACCENTS 

14-point,  old  body  25 

NEEDED  IN  O.  S.  TITLE-PAGES 

18-point,  old  body  2823 

HAIR-LINES  TOO  SHARP 

20-point,  old  body  34:*% 

FEW  OLD-STYLE  MARKS 

22-point  3523 

A  READABLE  FACE 

24-point  4234 

CONDENSED  TYPE 

30-point  4613 

WIDE  BLANKS 

36-point,  old  body  5923 

102 


The  Initials  of  the  <DeVinne  '•Press 
OLD-STYLE  CONDENSED 

From  American  Type  Founders  Co. 

WE  have  other  faces  of  Old-style  Condensed  capitals,  but 
with  attached  lower-case  alphabet.     The  wide  shoulder  at 
the  base  of  any  capital  letter  unfits  it  for  use  as  a  two-line  for  a 
text  type,  but  it  can  be  used  in  title-pages  or  in  open  display.    Of 
this  face  there  are  nine  sizes.     See  Text  Types. 

Old-style  Extra  Condensed,  in  four  sizes,  is  kept  in  stock,  but 
it  is  provided  with  lower-case  alphabet,  and  is  of  too  condensed  a 
form  to  be  of  service  in  any  but  very  narrow  measures. 

Two-line  letters  made  strictly  according  to  the  form  approved 
by  the  first  Caslon  are  not  exhibited  in  a  series  by  type-founders. 
There  is  good  reason  for  the  neglect.  Many  of  the  large  capital 
letters  are  now  out  of  favor  for  bad  proportions.  The  capitals 
S,  B,  and  0  are  fair  examples  of  their  want  of  harmony  with  other 
letters  of  the  series.  A  critic  of  the  last  century  who  admired 
the  Caslon  lower-case  objected  to  large  Caslon  capitals  as  "  coarse 
and  stumpy."  Modern  type-founders  prefer  the  lighter  and  more 
graceful  shape  here  shown  under  the  name  of  "  Modernized  Old- 
style."  The  real  Caslon  Old-style  is  too  thick  to  be  used  for  a  two- 
line  letter  for  the  larger  sizes  of  this  face.  Preference  is  given 
by  most  publishers  to  the  more  symmetrical  forms  of  Ancient 
Roman,  Cadmus  or  Elzevir,  and  MacFarland,  which  fairly  preserve 
Old-style  features. 

To  meet  the  wishes  of  modern  publishers  who  object  to  the 
needless  width  of  Caslon  capitals  of  large  size,  type-founders  now 
make  their  two-line  letters  of  Old-style  on  a  narrower  set.  So 
treated  the  new  two-lines  make  better  mates  for  Caslon  Old-style 
text  type,  but  in  trying  to  produce  graceful  letters  they  have 
neglected  two  desirable  features:  the  hair-line  is  made  too 
sharp  and  the  thick  stroke  in  curved  letters  is  not  sufficiently 
protracted.  Modernized  Old-style  type  is  usually  of  more  pleas- 
ing shape,  but  in  the  larger  sizes  it  has  not  the  boldness  and 
sturdiness  of  the  Caslon  Old-style.  The  usefulness  of  letterpress 
printing  has  been  seriously  damaged  by  designers  of  types  who 
have  tried  to  imitate  the  delicacy  and  refinements  of  copperplate 
and  lithographic  processes.  Types  should  be  made  to  aid  the 
reader,  not  to  show  the  skill  of  the  engraver. 

103 


The  Initials  of  the  <DeVinne  Press 
TWO-LINE  ELZEVIKS 

From  the  foundry  of  Mayeur,  Paris.     Points  of  French  standard 


A  TWO-LINE  WITHOUT  SHARP   HAIR-LINES 

Body  10  19 

HAS  SHORT  SERIFS  AND  IS  READABLE 

Body  12  21 

ALL  SIZES  HAVE  THE  ACCENTS 

Body  14  2434 

ITS  FIGURES  ARE  OLD-STYLE 

Body  16  29 

USEFUL    FOR  TITLES 

Body  20  39 


AND  OPEN  WORK 

Body  24  46 

NEEDS  SPACE 

36-point  American  62 

AND  LEADS 

Body  36  67% 

104 


The  Initials  of  the  ^DeVinne  <Press 
TWO -LINE   ELZEVIRS 

From  the  foundry  of  Mayeur,  Paris.     Points  of  French  standard 


PLEASING 


Body  42 

r  *  \ 


PRINTED 


LETTER 


Body  48  94 


Body  60  108 


This  series  of  eleven  sizes  has  attached  accents,  diphthongs,  and 
arabic  figures  for  each  size,  but  has  no  signs  for  $  and  £. 

It  shows  to  best  advantage  as  a  display  letter  in  the  open  com- 
position of  title-pages  or  as  a  heading  letter  in  leaded  light-faced 
Old-style.  Is  not  so  pleasing  in  the  display  of  solid  matter  and 
compact  type-setting.  It  needs  an  occasional  thin -spacing  of 
letters  that  are  fitted  too  close,  as  in  I  H  E,  for  the  shortened 
serifs  do  not  keep  the  vertical  thick  strokes  at  proper  distance. 

When  this  face  of  type  is  selected  to  appear  in  two  lines,  one 
line  immediately  following  the  other,  a  generous  amount  of  white 
space  should  be  put  between  the  lines  of  composition.  There 
should  be  about  as  much  white  space  between  the  two  lines  as 
appears  within  the  lines  of  each  letter.  This  is  not  always  possible, 
but  it  is  desirable.  A  letter  open  within  needs  openness  without. 

105 


The  Initials  of  the  'DeVinne  'Press 

CONDENSED  TYPES.  ROMAN  FORM 

^YPES  MORE  CONDENSED  than  the  Lindsay,  Classic, 
and  Cheltenham  faces  are  not  approved  by  publishers  for 
the  texts  of  books.  Tolerance  of  thin  letter  stops  at  a 
face  that  measures  eleven  ems  or  less  of  its  own  body. 
A  type  of  greater  thinness  is  rated  as  indistinct,  and  annoying 
to  the  ordinary  reader.  This  objection  is  well  founded  when  it 
is  applied  to  condensed  types  of  the  smaller  bodies,  but  it  is  not 
always  wise  to  discriminate  against  thin  letters  of  large  body  that 
are  readable,  nor  against  the  capital  letters  of  the  smaller  sizes. 
In  title-pages  publishers  make  use  of  many  sizes  of  condensed 
type  from  nonpareil  to  five -line  pica.  The  taste  for  condensed 
capitals  in  title-pages  is  declining,  but  there  are  readers  who  con- 
sider them  as  more  graceful  than  types  of  standard  width. 

Poetry  containing  many  syllables  to  the  line  needs  condensed 
letters.  When  a  large  and  readable  type  has  been  selected  for  a 
book  of  poetry,  the  compositor  often  has  to  break  a  line  of  many 
words,  and  make  it  appear  in  print  as  two  (sometimes  three  or 
four)  lines  of  type  with  disgracefully  ragged  endings.  We  have 
not  in  this  feature  wisely  followed  some  old  examples.  A  Spanish 
book  of  the  sixteenth  century,  recently  studied  by  the  writer,  con- 
tains two  distinct  faces  of  type  in  each  line  of  narrow  measure. 
The  important  words  were  in  types  of  full  width,  but  unimportant 
particles  like  the,  and,  etc.,  were  set  in  a  condensed  letter.  The 
two  faces  were  on  the  same  body,  of  the  same  height  and  thick- 
ness of  stem,  and  lined  neatly,  making  a  symmetrical  page.  Mod- 
ern poetry  would  be  neater  if  this  simple  method  were  practised. 

One  reason  for  the  neglect  of  condensed  letter  of  roman  form 
is  its  frailty.  Its  hair-lines  have  been  made  unnecessarily  long, 
sharp,  and  delicate,  so  that  they  bend,  gap,  or  thicken  irregularly 
under  ordinary  usage.  Another  reason  for  this  neglect  is  the  ad- 
ditional cost  of  condensed  roman  types.  Printers  prefer  types 
with  thicker  lines  that  cost  less  and  stand  reasonable  wear. 

Condensed  letters  of  roman  form  are  not  objected  to  in  other 
branches  of  printing.  They  are  used  by  lithographers,  copper- 
plate printers,  and  designers  for  photo-engraving. 

On  an  advanced  page  will  be  found  condensed  type  of  Old-stj'le 
peculiarities  and  with  a  full  lower-case  series. 

Condensed  letter  with  lower-case  of  thicker  stems  will  be  shown 
under  the  heading  Title  Type  or  Fat-face. 

106 


Roman  Capitals 

of  Fonts  that  have  Lower-case 


Capitals  of  Fonts  with  Lower-case 
CAPITALS  AND  FIGURES 

OF  ALL  FONTS    OF    EOMAN   TYPES    THAT    HAVE  A  FULL 
SEEIES   OF  LOWER-CASE   SORTS 

Each  size  specified  under  this  heading  has  a  mated  lower-case 
with  shoulder  on  its  capitals,  and  this  shoulder  may  unfit  it  as 
a  two-line  letter  for  text  type,  but  all  of  the  faces  here  shown 
may  be  needed  in  title-pages  or  open  display.  The  width  of  the 
large  capitals  is  here  specified,  in  ems  of  12-point.  The  width 
of  the  small  capitals  is  specified  under  Text  Types. 

BRUCE.    No.  11 

LARGE  CAPITALS  AND  SMALL  CAPITALS  WITH  FRACTIONS  AND  FIGURES 1234567890 

5-point,  old  body  .  .  9  ems  12-point 

A  TYPE  OF  BEAUTIFUL  FORM  IN  ITS  SERIES  OF  CAPITALS  OR  SMALL  CAPITALS     1234567890 
5^-point  .  .  984  ems 

USEFUL  IN  BOOKS  OR  IN  ADVERTISEMENTS.    HAS  FRACTIONS     .    .    .    1234567890 
6-point  .  .  lO^  ems 

UNIFORMITY  IS  APPARENT  IN  THE  DESIGNING  OP  ALL  THESE  SIZES    1234567890 
7-point,  old  body  .  .  12  ems 

MANY  SIGNS  AND  ACCENTS  FOR  THIS  FACE  AND  BODY  .    .    1234567890 
8-point  .  .  12  34  ems 

ACCENTS  AND  SIGNS  ARE  PROVIDED  FOR  THIS  BODY    1234567890 
9-point,  old  body  .  .  14  ems 

THE  SIZE  PREFERRED  FOR  ORDINARY  BOOKS  .    1234567890 

10-point  .  .  16  ems 

STANDARD  BOOKS  PKEFEK  THIS  SIZE  .    .    1234567890 

ll-point,  old  body  .  .  1784  ems 

NOT  TOO  BLACK.    NOT  TOO  LIGHT.    1234567890 

12-point  .  .  2012  ems 

BRUCE.    No.  12 

THIS  FACE  IS  A  TRIFLE  WIDER  AND  BOLDER  THAN  THE  NO.  11  FACE     .    1234567890 

5^-point,  old  body  .  .  11  ems 

THIS  FACE  APPROVED  FOR  DISTINCTNESS  IN  ADVERTISEMENTS   .    .    1234567890 
6-point,  old  body  .  .  ll^  ems 

109 


Capitals  of  Fonts  with  Lower-case 

BRUCE.    STo.  13 
WAS  PREFERRED  FOR  A  BIBLE  12345678 

14-point  .  .  2212  ems  12-point 

FACE  CUT  WITH  MUCH  SKILL    1234567 

16-point,  old  body  .  .  25  ems 

OLD  FAVORITE      1234567 

22-point,  old  body  .  .  34  ems 

A  BOLD  TYPE     1234 

28-point,  old  body  .  .  44^  ems 

FOKCIBLE  1234 

36-point,  old  body  .  .  59^  ems 

LARGE 

48-point,  old  body  .  .  78  ems 


LIKDSAY.    BRUCE 

THE  GROLIER  CLUB  SELECTED  THIS    123456 

14-point,  old  body  .  .  20^ 


MATES  WITH  TWO-LINE  CONDENSED  TYPE  123 

16-point  .  .  21  ems 


110 


Capitals  of  Fonts  with  Lower-case 
BRUCE.    Ko.  16 

COMMERCIAL  REGISTER  TYPE  NOW  IN  DIMINISHED  REQUEST   .  .  .  1234567890 
7-point,  old  body  .  .  12  ems  12-point 

NO  ITALIC  FOR  THIS  FACE  WHICH  is  SELDOM  CALLED  FOR       123456789U 
8-point,  old  body  .  .  V2^  ems 


AN  OLD  FAVORITE.     NOW  A  BACK  NUMBER  1234567890 
10-point,  old  body  .  .  IS1^  ems 


A  GRAND  TYPE  IN  ITS  PERIOD     12345 

18-point,  old  body  .  .  24  ems 

GOOD  FORM  123 


36-point,  old  body  .  .  5434  ems 


NEAT  456 


48-point,  old  body  .  .  GO^  ems 


NEW78 


72-point,  old  body  .  .  122^  ems 


CONFER 


BOOK  OF  COMMON  PRAYER    12345 


18-point,  old  body,  .  .  24  ems 
111 


Capitals  of  Fonts  with  Lower-case 
CENTURY 

A  READABLE  TYPE  IN  ITS  CAPITALS  OR  IN  ITS  SMALL  CAPITALS  .....  1234567890 
6-point  .  .  10%  ems  12-point 

HERE  ARE  HAIR-LINES  THAT  ARE  ENTIRELY  VISIBLE  .  .  .  1234567890 
8-point,  of  large  face  .  .  13*2  ems 

MATES  WELL  WITH  CONDENSED  TWO-LINE  ROMAN  LETTER  .....  1234567890 
8-point  .  .  10%  ems 

USEFUL  WHEN  SELECTED  FOR  TITLES  ON  THE  BACK  OF  THIN  BOOKS  123 
9-point  .  .  13%  ems 

THE  CENTURY  MAGAZINE  HAS  USED  THIS  FACE   .   1234567890 
10-point  .  .  1  S1^  ems 


SLIGHTLY  COMPRESSED  BUT  NOT  OBSCURE  .  12345678 

ll-point  .  .  1634  ems 


EXPANSION  IS  UPWARD.  NEEDS  LEADING  12345 

12-point  .  .  1823  ems 

LINES  ARE  VISIBLE  AT  A  GLANCE  123 

14-point  .  .  22  ems 

NO  SMALL  CAPITALS  123456789 

1  8-point  .  .  28  ems 

MATES  TWO-LINE  .  1234 

24-point  .  .  36  ems 

ROMAN  FACE  1234 

30-point  .  .  44  ems 

DIGNIFIED  .  6789 


36-point  .  .  54  ems 

112 


Capitals  of  Fonts  with  Lower-case 

CENTURY    ]STo.  2 

CENTURY  CLASSIC  SERIES  ARE  IN  THIS  TYPE  .  .  1234567890 
10-point  .  .  15  ems 

SCOTCH-ROMAN 

SMALL  CAPITALS  IN  ALL  SMALL  SIZES  FROM  six-  TO  TWELVE-POINT  .....  1284567890 
6-point  .  .  IQis  ems  12-point 


NO  HAZINESS  OR  OBSCURITY  IN  ANY  SIZE  OF  THIS  FACE      1234567890 
8-point  .  .  1313  ems 


A  VISIBLE  THICKNESS  TO  ALL  THE  LIGHTER  STROKES    1234567890 
10-point  .  .  1484.  ems 

NOT  AT  ALL  PRETENTIOUS  BUT  VERY  READABLE      123456 
ll-point  .  .  IG^  ems 


AS  PLAIN  AS  ANTIQUE,  AS  SIMPLE  AS  ROMAN  123 

12-point  .  .  2012  ems 

THIS  FACE  REPLACES  OLD-STYLE  12 

14-point  .  .  24  ems 

FIGURES  TO  EVERY  SIZE  67 

18-point  .  .  3  1^3  ems 

COMPLETE  SERIES  89 

24-point  .  .  4113  ems 

CLEAR  TITLE  123 

30-point  .  .  49^  ems 

PLAINNESS  56 


36-point  .  .  62  ems 
113 


Capitals  of  Fonts  with  Lower-case 
FARMER 

PLENTY  OF  ACCENTS,  JOINED  LETTERS,  AND  ODD  SIGNS  .  .  1234567890 
8-point  No.  13,  old  body  .  .  12^  ems  12-point 

HAS  SUPERIORS,  PIECE  FRACTIONS,  AND  REFERENCE  MARKS  1234567890 
8-point  No.  15,  old  body  .  .  13  ems 

PIECE  FRACTIONS  AND  ALGEBRAIC  SIGNS  OP  SCHOOL-BOOKS    1234567890 
9-point  No.  15,  old  body  .  .  13  ems 

MATHEMATICAL  SIGNS  ARE  HERE  IN  ABUNDANCE   .  .  .  1234567890 
9-point  No.  18  .  .  l^s  ems 


MANY  CURIOUS  SORTS  ALSO  IN  THIS  SCHEME     1234567890 

10-pointNo.  13,  old  body  .  .  15  j£  ems 

DOUBLE  LETTEKS  AND  ACCENTS  IN  THIS  FONT  .  1234567 

ll-point  No.  12,  old  body  .  .  IT1^  ems 

USED  FOE  KEPAIES  MAINLY.    HAS  NO  ITALIC  123456789 

ll-point  No.  13,  old  body  .  .  16^  ems 

A  VERY  SMALL  FONT  OF  THIS  FACE  .  .  1234567890 

12-point  No.  6,  old  body  .  .  19  ems 

FULL  CAPITALS  AND  SMALL  CAPITALS  1234567890 

12-point  No.  18,  old  body  .  .  19^  ems 

TITLE-PAGES  NEED  THIS  FACE  .  12345 

18-point  No.  4,  old  body  .  .  2512  ems 


1828 
MADE  IN  NEW  ENGLAND  POSSIBLY  BY  EDMUND  STARR  123 

10-point  .  .  16  ems 

A  STRONG  FACE  MUCH  NEGLECTED    1234567890 

12-point  .  .  20  ems 
114 


Capitals  of  Fonts  with  Lower-case 
LIGHT-FACE 

TWICE  AS  BROAD  AS  THE  REGULAR  NONPAREIL   ....  1234=567890 
6-point,  old  body  .  .  1284  ems  12-point 

NEEDS  MUCH  BLANK  ABOUT  EVERY  LINE    1234567890 
8-point,  old  body  .  .  1584  ems 

THIS  STYLE  HAS  NO  SMALL  CAPITALS     12345 

10-point,  old  body  .  .  19  ems 

THIS  SIZE  HAS  MANY  ACCENTS     123456 

12-point,  old  body  .  .  21*4  ems 

CLEAR  AND  PLEASING  123 

18-point,  old  body  .  .  32  ems 

IN  A  HALF-TITLE   1234 

22-point,  old  body  .  .  38  ems 

TITLE-PAGES  .  .  5678 

28-point,  old  body  .  .  4314  ems 

CIKCULAES  123456 

36-point,  old  body  .  .  47*4  ems 


MICROSCOPIC 

THIS  SMALLEST  SIZE  OF  ALPHABET  PRACTICABLE  IN  BOOK  WORK  HAS  NO  SMALL  CAPITALS 12M5S78SO 

3^-point  .   .  G^  ems 

AN  ADMIRABLY  ENGRAVED  LETTER,  BUT  IT  IS  FEAII,  Am>  WILI,  soon  WIAB  OUT 1234S67890 

4^-point,  old  body  .  .  7%  ems 

115 


Capitals  of  Fonts  with  Lower-case 
M.  &  B. 

CENTURY  DICTIONARY  MAKES  USE  OF  THESE  CAPITAL  LETTERS 1234567890 

6-point  No.  22  .  .  10  ems  12-point 

A  LIGHTER  FACE  ON  THIS  NONPAREIL  BODY,  AND  OF  MUCH  MERIT 1234567890 

6-point  A,  old  body  .  .  10  ems 

ACCENTS  AND  EXTRA  SORTS  PROVIDED  IN  GREAT  VARIETY  .  .  .  1234567890 
8-point,  old  body  .  .  12  ems 

ITALIC  AND  ROMAN  FIGURES  PROVIDED  FOR  THIS  FONT     1234567890 
9-point,  old  body  .  .  IS1^  ems 

HAS  MANY  PECULIAE  SORTS  FOR  SCHOOL-BOOKS  .  .   1234567890 
10-point  No.  28,  old  body  .  .  14^2  ems 

ACCENTS  FOR  FOREIGN  LANGUAGES  ABE  SHOWN     123456 

ll-point,  old  body  .  .  IS1^  ems 


For  other  sizes  of  Roman  Capitals  see  Two-line  letters  on  previous  pages. 

116 


Capitals  of  Fonts  with  Lower-case 
FRENCH 

ITS  MANNERISMS  OF  DESIGN  ARE  NOT  READILY  DISCERNED  ON  A  SMALL  BODY  ......  1234567890 

Body  5  .  .  10  ems  12-point 

THE  PECULIAR  STYLE  OF  MOTTEROZ  is  HERE  IMPERFECTLY  SHOWN          123456789 
Body  6  .  .  ll^  ems 

MODERATELY  CONDENSED  NOW  IN  FAVOR        1234512345 

Body  10  .  .  151%  ems 


THE  OLD  AND  NEW  ARE  HERE  COMBINED  1234612345 

Body  11  .  .  181s  ems 

APPROVED  FOR  MANY  YEARS  ....     1234572^5 

Body  12  .  .  20  ems 

FREELY  USED  IN  FRANCE  FOR  THE  BEST  EDITIONS    12345 

Body  12  .  .  16  ems 

AND  FOR  SCHOOL-BOOKS  IN  PARIS     123456 

Body  12  .  .  2014  ems 

OLD  mm 

60-point  No.  601,  old  body  .  .  62  ems 


RIGGS 


RELIC  2 


48-point,  old  body  .  .  103%  ems 

117 


Capitals  of  Fonts  with  Lower-case 
CO^DE^SET)  CAPITALS 

In  Modern  Style 

AN  APPROVED  FORM  IN  THE  YEAR  1840      1234567 

12-point  No.  162  .  .  17  ems  12-point 

A  NEWER  AND  A  MORE  PLEASING  FACE       1234567 

12-point  No.  164  .  .  IG^  ems 


DISPLAY  LINE  FOR  A  TITLE-PAGE  12 

18-point  No.  164  .  .  2214  ems 

ON  DOUBLE  SMALL-PICA  BODY  3 

22-point  No.  164  .  .  2515  ems 

A  NARROWED  MEASURE  4 

28-pointNo.  164  .  .  312g  ems 


DISTINCT  LETTER  5 

36-point  No.  164,  old  body  .  .  41^  ems 

TITLE-PAGE  6 

48-point  No.  164,  old  body  .  .   60  ems 

123456789 

60-point  Condensed,  old  body.     Figures  and  lower-case.     No  caps. 

118 


Capitals  of  Fonts  with  Lower-case 
EXTRA  COKDEI^SED  CAPITALS 

Eoman,  Modern  Style 

FOR  HEAD1KS  IN  COLUMNS,  IN  TABLES  OF  FIGURES.    FOR  LUES  II  NARROW  MEASURE    .  .  1234567890 
6-point  No.  5,  old  body  of  A.  T.  F.  Co.  .  .  7*2  ems  12-point 

THE  CAPITAL  LETTERS  OF  THIS  FACE  ARE  TOO  THIN  TO  BE  EASILY  READABLE    ......  1234567890 

8-point  No.  603,  old  body  .  .  7*2  ems 

CAPITALS  AKE  A  TRIPLE  WIDER  BUT  NOT  MUCH  MORE  DISTINCT  1234567890 
8-point  No.  164,  old  body  .  .  11  ems 

THIS  FACE  HAS  THICKER  LINES,  BUT  IT  CAN  BE  USED  WITH  LIGHT  FACES   .  .  .  1234567890 
8-point  No.  5  on  10-point,  old  body  .  .  8%  ems 

THIS  IS  SUITABLE  FOR  A  LABEL,  BIT  NOT  FOR  A  TITLE-PAGE     12345678 

10-point  No.  5,  old  body  .  .  lO^  ems 


THIS  SEEMS  TO  BE  THE  VERY  EXTREME  OF  USEFUL  CONDENSATION    423456789 

12-point  No.  603  .  .  934  ems 

NORMALLY  CONDENSED  12 

28-point,  old  body  .  .  31  ems 


32-point,  old  body  .  .  23  ems 


48-point,  old  body  .  .  24  ems 


119 


Capitals  of  Fonts  with  Lower-case 
CASLOK  OLD-STYLE 

A  SMALL  FONT  OF  THIS  SIZE,  LETTERS  PINCHED  AND  INDISTINCT    ....   1234567890 

6-point,  old  body  .  .  10  ems  12-point 

OF  SERVICE  IN  OLD-STYLE  TITLES.      HAS  FRACTIONS  ON  EM  BODY     1234567890 
8-point  .  .  1184  ems 

USEFUL  FOR  EXTRACTS  OR  NOTES  IN  TEXT  OF  OLD-STYLE  FACE  12345 
9-point  .  .  1323  ems 

ROMAN  AND  ITALIC  FIGURES,  AND  FRACTIONS  ON  EM  BODY    12345 
10-point  .  .  14%  ems 

ITS  CAPITALS  ARE  SMALL  FOR  THE  BODY       1234567890 
ll-point  .  .  17  ems 

MORE  READABLE.    HAS  ACCENTS  AND  SIGNS    12345 

12-point  .  .  19*4  ems 

VARIANT  OF  THE    ABOVE.    SMALL  CAPITALS  12345 

12-point  No.  15  .  .  1  Querns 

NOT  PLAINER  THAN  MODERN  PICA       11^1234 

14-point  .  .  2084  ems 

CAPS    GOOD,   SMALL  CAPS  TOO  SMALL       1234 
18-point  .  .  241<j  ems 

LARGER  SIZES  TO  SHOW  STYLE  123 

22-point  .  .30^2  ems 


BOLD  CAPS  OF  THIS  FACE    123 

24-point  .  .  361<j  ems 

A  USEFUL  SIZE  1234567 

28-point,  old  body  .  .  39*3  ems 

BEST  LETTER  123 


36-point  .  .  49  ems 


OLD-STYLE  45 


42-point  .  .  62  ems 

120 


Capitals  of  Fonts  with  Lower-case 


OLD-STYLE 

Metal  and  Wood 


LETTERS  1 9 

SHOWY  5 


48-point, 
old  body 

72^  ems 
12-point 


60-point, 
old  body 

9723  ems 


72-point, 
old  body 

119  ems 


72-point, 
Bold 

149  ems 


OUT 
FAT 


72-point, 
14412 


72-point, 

206  ems 
No  figures 


121 


Capitals  of  Fonts  with  Lower-case 


OLD-STYLE 

All  of  Wood 


THICKER  2 


36 -point  .  .  SQig  ems  12-point 


GROSS  169 


36-pointBold  .  .  81  ems 


BLACK  8 


48-point  .  .  10212  ems 


RUDER7 


48-point  Bold  .  .  110  ferns 


BIG  345 

60-point  .  .  126i<2  ems 
For  larger  sizes  of  Old-style  letter  see  pages  326-334  of  Office  Specimen  Book. 

122 


Capitals  of  Fonts  with  Lower-case 


OLD-STYLE 

All  of  Wood 


PINCHED  4 


48-point  .  .  78  ems  12-point 


STARVED  3 


60-point  .   .   74  erus 


ASK8 


96-poiut  .   .   150^2  eins 


BOLD  3 


96-point  ,  .  117%  ems 

123 


Capitals  of  Fonts  with  Lower-case 
MODERNIZED  OLD-STYLE 

PUBLISHERS  OF    NEWSPAPERS  REJECT  OLD-STYLE  FOR  ITS  IRREGULAR  FIGURES     ....   1234567890 

5-point  .  .  923  ems  12-point 

TOO  SMALL  FOR  CATCH-LINES  IN  A  QUARTO  OR  OCTAVO  FOLIO  TITLE-PAGE       1234567890 
6-point  .  .  1023  ems 

A  VERY  READABLE  TYPE  PROVIDED  WITH  MANY  ACCENTS  ....  1234567890 
7-point,  old  body  .  .  121?  ems 


THIS  ALSO  HAS  ACCENTS  AND  TWO  FORMS  OF  FIGURES    .  .  1234567890 
8-point  .  .  13  ems 

MAY  BE  USED  IN  TITLE-PAGES  WITH  THE  RENNER      1234567890 
9-point  .  .  14  ems 

LEGIBILITY  OF  SMALL  CAPS  IMPROVED  BY  HAIR-SPACES    1234 
10-point  .  .  15^2  ems 


A  FAVORITE  FACE  OF  TYPE.  HAS  MANY  ODD  SORTS   5 

ll-point  .  .  16*2  ems 

SIGNS  FOR  BIBLIOGRAPHIC  WORK  IN  THIS  FONT      7890 
12-point,  old  body  .  .  IQ1^  ems 


READABILITY  IMPROVES  WITH  BIG  SIZES   10 

14-point  .  .  22*2  ems 


NO  SMALL  CAPITALS  NOR  FIGS. 

1  6-point  .  .  27  ems 

FIGURES  GROTESQUE  IN  ALL  SIZES    567 

18-point,  old  body  .  .  29*3  ems 

AFTERTHIS  NO  SMALL  CAPS   I 

22-point,  old  body  .  .  38^  ems 

124 


Capitals  of  Fonts  with  Lower-case 
ELZEVIR  OB  CADMUS 

CAPITALS  AND  SMALL  CAPITALS  ACCEPTABLE  IN  BOOK  AND  JOB  WORK.  NO  FIGURES 

Body  6  .   .   9*2  ems  12-point 

HAS  ALL  THE  ACCENTS  NEEDED  FOR  THE  FRENCH  LANGUAGE  .  .  .   1234567890 
8-poinf  .  .  ll1^  ems 


USEFUL  FOR  CATCH-LINES  IN  OPEN  COMPOSITION       12345678 

10-point  .  .  15  ems 

THIS  FACE  OF  LETTER  NEEDS  WIDE  SPACING    123 

12-point  .   .   IS^  ems 


HAIR-SPACES  ARE  OFTEN  NEEDED      1234567890 

Body  14  .  .  2014  ems 

GRADUATION  OF  SIZES  12 

20-point  .  .  Sl^  ems 


CHELTENHAM 

A  RECENT  FANCY  OF  FASHION  IN  MODERNIZED  OLD-STYLE    .....  1234567890 
6-point  .  .  10%  ems 

ITS  CAPITAL  LETTERS  HAVE  REMARKABLE  HEIGHT    .  .  1234567890 
8-point  .   .   12*2  ems 

THESE  CAPITALS  MATE  WITH  ANY  OLD-STYLE    4567 

10-point  .  .   15%  ems 

MAY  MATE  WITH  LIGHT-FACED  ANTIQUE  1234567 

ll-point  .  .  16%  ems 

BEST  WHEN  THE  FULL  SERIES  IS  USED    123456 

12-point  .  .  18  ems 

IN  A  CIRCULAR  OR  TITLE-PAGE    8901 

14-point  .  .  21%  ems 

USED  AS  INITIAL  LETTER    1  234 

18-point  .   .  2712  ems 

125 


Capitals  of  Fonts  with  Lower-case 

CHELTENHAM 

(CONTINUED) 

SHOWS  LINES  IN  RED  67 

24-point  .  .  3434  ems  12-point 

NOT  WELL  SHOWN  8 

30-point  .  .  42  ems 

ON  THICK  TYPE  9 


36-point  .  .  501^  ems 


SIMPLICITY  12 


42-point  .  .5912  ems 


ORIGINAL  34 


48-point  .  .   63%  ems 


QUAINT  5 


60-point  .  .  85  ems 


TITLES  6 


72-point  .  .  102  ems 
126 


Capitals  of  Fonts  with  Lower-case 
REINER 

GOOD  FOR  LETTERING  ON  THE  BACKS  OF  BOUND  BOOKS  1234 
8-point  .  .  13l<2  ems  12-point 


MATES  WITH  ANCIENT  ROMAN  OP  SMALL  SIZES   12345 

10-point  .   .   16%  ems 

HAS  GRACE  AND  SIMPLICITY  .  .  1234567390 

14-point  .  .2112  ems 

A  Sy.BSTI.TU.TE  FOR  OLD  ITALIC      12345 

14-point  dotted  .  .  21%  ems 


OF  USE  IN  MEDIEVAL  REPRINTS     123 

14-point  Antique  .  .  22%  ems 

NOT  A  MUDDY  LETTER    12345 

16-point  .  .  30%  ems 

FIGURES  IN  LINE  123 

20-point  .  .  40  ems 

MACFARLAKD 

NO  SMALL  CAPITALS  WITH  MACFARLAND  FACES        1234567890 
8-point  .  .  13  ems 

COMPLETES  A  SERIES     123456789 

18-point  .  .  27*2  ems 

BRADFORD 

A  SMALLER  SIZE  OF  THE  ANCIENT  ROMAN    12345 

10-point  .  .  17  ems 

A  GOOD  FACE  FOR  SUBHEADINGS     12345 

12-point  .  .  20*2  ems 

IN  CLASSICS    1234567 

24-point  .  .  43  ems 

127 


Capitals  of  Fonts  with  Lower-case 
CLASSIC 

ANOTHER  FORM  OF  OLD-STYLE  TYPE  OF  GREAT  PLAINNESS 1234567890 

6-point  .  .  934  ems  12-point 

COMBINES  COMPRESSION  WITH  GREAT  LEGIBILITY        1234567890 
8-point  .  .  122g  ems 

MAY  BE  USED  WITH  RENNER  OLD-STYLE          1234567890 
9-point  face  on  10-point  body  .  .  14^2  ems 

ALL  THE  SIZES  HAVE  ACCENTS  AND  FIGURES    12345 

10-point  face  on  11-point  body  .  .  IG1^  ems 


PREFERRED  FOR  CLASSIC  REPRINTS      6789 

12-point  .  .  19*3  ems 

FIFTEENTH  CENTURY 

NOT  A  NEAT  FACE  FOR  A  MODERN  BOOK  .  .  .  1234567890 

10-point  .  .  14  ems 

OF  GOOD  SERVICE  IN  SOME  REPRINTS      1234567890 

12-point  .  .  17  ems 

ADMIRED  BY  ADVERTISERS  12345 

18-point  .  .  25*2  ems 

A  CRABBED  FACE     1234567 

24-point  .  .  32  ems 

AUSTERE  123^56789 


36-point  .  .  45*2  ems 


RUGGED  12345 


48-point  .  .  62ig  ems 

128 


Capitals  of  Fonts  with  Lower-case 
OLD-STYLE  CONDENSED 

With  Lower-case 

OLD  WINE  NOT  GOOD  FOR  NEW  BOTTLES  12345678 

10-point,  old  body  .  .  161%  ems  12-point 


AN  OLD  STYLE  IN  A  NEW  SHAPE  12345678 

12-point,  old  body  .  .  20  ems 

STATELY  AND  COMMANDING    12345678 

18-point,  old  body  .  .  2114  ems 

BUT  WITH  OBSOLETE  FIGURES  4 

16-point,  old  body  .  .  25%  ems 

FOR  LAVISH  DISPLAY    4567 

20-point,  old  body  .  .  29%  ems 

A  SUITABLE  INITIAL  4 


24-point,  old  body  .  .  35%  ems 


THIN  STROKES  67 

3fi-nrnnt.  old  bndv  .   .   45  ems  • 


36-point,  old  body  .  .  45  ems 


NEEDS  SPACE  8 


48-point,  old  body  .  .  55  ems 


TITLE-PAGE  4 

Cf\  ».^4.,4      f\\A  \\f\f\rr  KQ   amfl  * 


60-point,  old  body  .  .  59  ems 

129 


Capitals  of  Fonts  with  Lower-case 
OLD-STYLE  EXTRA  COISDEKSED 

With  Lower-case 

GOOD  FOR  JOBS,  BUT  NOT  FOR  BOOK  WORK  123456789 

18-point  No.  1,  old  body  .  .  14%  ems  12-point 


LETTERS  SHOW  LITTLE  OLD-STYLE  34 


24-point  No.  1  .  .  20  ems 


IISEFOL  INITIAL  TO  SMALL  TYPE 


36-point  No.  1  .  .  23  ems 


CONMSATMFXCIISARIF? 

VJUiil/lvIluilllUli  JL/AUUOiiDl/lv  a 


40-point  No.  1  .  .  27%  ems 


130 


The  Text  Types  of  the  <De  Vinne  'Press 
MICROSCOPIC  TYPES 


>rdin»ry  composition 

3iS6  are  needed  to  nuke  one  pound  in  weight ;  of  th 
word!  (usually 


sise,  ordinary  matter  tet  solid,  will  c 


good  t 


high  and  30  raillii 


_ ,  „  sheets  j  nearly 


t  generally  useful  book  i 


about  125 

This  sin  is  seldom  u«ed  for  the  text  of  >  book.     In  1888  the  De  Vinne 
Press  printed  a,  collection  of  thirty  humorous  poama  under  the  title  of 

inches  "iide  by  two"  aSi  «Si£«iiteeti'ths  fnchei'u.-lK*  "it.  112  printed 

land,  1K72  Ismail  enough  to  be  carried  in  the  ride-pocket  of  a  traveller, 
(or  which  it  was  planned),  U  the  mo, 
brilliant  type  has  been  used  for  the  I 

Brilliant  type  now  nods  its  chief  employment  in  making  of  booki  of 

Bible.     It  ia  *  frail  letter,  composed  with  difficulty  and  easily  bruised 

press. 

In  1848  Laurent  and  Debernav,  type-founder*  of  Paris,  published  a 
"microscopic"  edition  of  the  "Fables  de  La  Fontaine, "  s>  liook  of  250 
pages,  in  the  form  of  128mo.     The  pace  so   made  was  52  millimetres 
'   .      It  was  printed  by  Plox  Freres.  and 


.  marrel  of  ikill  and 


t  World's  Fair. 

In  1865  the  same  foundry  published  a  still  smaller  volume— Oressert, 
Vei^vert.  and  other  pieces— in  the  form  of  a  book  of  160  pages.  The 
pace  of  this  book  waa  %  millimetre  high  and  22  millimetres  wide. 


LEADED 

The  type  u»ed  wa>  that  of  their  edition  of  La  Fontain*,  but  it  was 
leaded  and  made  more  readable.  It  Menu  of  a  little  larger  body  than 

In  1898  Edwin  Trow  published  "  D«  Imitatione  Chriiti. "  on  a  leaf  47 
millimetre*  high,  30  millimetre*  wide,  38  line*  to  the  page,  making  a 
book  of  165  pages.  It  wa*  printed  by  Oiraudet  and  Jcuauit.  in  a  type 
smaller  than  that  used  by  Laurent  and  Debernay.  It  appear*  to  be  of 
the  same  sice  of  face  as  the  type  previously  made  by  Didot,  but  It  is 
not  quite  so  small  in  body. 

In  1827,  Henri  Didot,  a  »on  of  Pierre  Frangois,  of  Paris,  then  sixty- 
six  years  of  age,  cut  with  his  own  hands  a  full  font  of  type  on  the 
French  body  of  two-and-a-half  points  with  which  he  printed  an 
edition  of  the  "  Maxim*  "  of  Rochefoucauld  and  other  little  books. 
Twenty-fire  lines  of  this  type  apparently  come  within  one  Amer- 

cut  a  full  font  of  roman  and  italic  book  type  on  three-point  body. 
The  Euached*  Foundry  of  Haarlem  ha*  cwt  a  still  smaller  face  on  the 
two-point  body. 

For  the  convenience  of  type-setters  It  has  been  neceuary  to  ca*t  these 
petty  face*  upon  an  enlarged  body.  The  only  three-point  body  in 
practical  use  in  the  United  States  it  that  called  Excelsior,  made  for 
music,  piece  fraction*,  and  borders,  but  these  types  on  em-square  bodies 
are  not  so  frail,  and  can  be  more  readily  handled. 

Tkf  word*  "iolid"  and  "  leaded  "  may  call  for  an  explanation.  Taw 
tfcrt  it  entirely  in  brilliant  type,  but  (A*  typei  of  «A«  /rrt  column  are  tet 
•olid,  or  jntt  cloeely  to^tltr,  vhilt  lA.  typet  of  ike  o(A«r  tide  in  itcvnd 
column  art  "leaded,"  or  made  wider  fry  putting  a  tA.'it  tpaee  between  tin 
fine*  with  intent  to  mate  tie  text  more  readable. 


Measurement  of  alphabet  in  12-point  ems 

ROMAS  CAPITALS,  ABCDEFOHIJKLMHOPQKSTUVWXYZ 
Romanlower-caw,abedefghijklmnopqr«tiiT  wxyi 


This  font  has  no  small  capitals  or  accent*.    Figures,  1  2  34  56  7  8  90,  on  en  body.     We  hare  of  the  threa-and-a-half- 
point  one  job  ca*e  for  roman  ;  of  the  brilliant,  one  pair  of  case*  for  roman  and  one  job  ease  for  italic. 

Three-and-a-half-point  No.  17.     A.  T.  F.  Co. 
Brilliant  No.  2.     M.  &  R. 


SOLID 

DIAMOND,  or  four-and-a-half-point,  seems  to  have  been  Srat 
made  by  Voakens  of  Amsterdam,  who  cut  a  full  font  of  tliia 
size  in  the  year  1700.     Van  Dijk,  type-founder  for  Daniel 
Elzevir,  bad  shown  in  1681  a  new  size  on  a  smaller  body  than 
pearl  but  it  wa«  not  the  size  now  known  as  diamond,  seven- 
teen lines  to  the  inch.     He  had  been  preceded  by  Jannon  of 
Sedan,  who  made  for  his  use  in  1625  some  very  small  types 
which  were  then  called  diamond,  but  they  are  not  much  smaller  than 
modern  pearl.     With  this  type  he  printed  miniature  editions  of 
Horace  and  Virgil,  that  were  then  regarded  as  triumphs  of  skill. 
William  Pickering  of  London  made  the  greatest  use  of  diamond 

mln'iKture'Vorm'  His  seVJe"  begun  in  fsM,  consist*  of  Cicero  de 
Officiis,  Virgil,  the  "Jerusalem  Liberated  "  of  Taaso.the  Sonnets  of 
Petrarch,  Dante  in  two  volumes,  Catullus,  Propertius,  and  Ti- 
bullus,  all  in  diamond  type  on  leaves  about  two  by  tbree  and  one- 
half  inches.  His  editions  of  the  Iliad  and  Odyssey  in  Greek  type 
of  faultless  form  on  diamond  body  are  marvels  of  accurate  composi- 
tion and  superior  presswork.  The  limit  of  useful  miniatures  has 
been  attained  in  brilliant,  for  it  is  not  practicable  to  cut  by  hand 
types  for  a  body  smaller  than  3ii  points ;  yet  the  Benton  punch- 
cutting  machine  has  made  perfect  letters  in  relief  much  smaller 
than  any  here  described,  although  they  cannot  be  made  in  movable 
letters  for  practical  printing. 

A  recent  miniature  edition  of  Dante  (Milan,  1878)  is  on  a  leaf 
one  and  three-eighths  inches  wide  and  scant  two  inches  high.  The 
types  for  this  little  book  were  designed  and  cut  in  1834  by  An- 
tonio Farina.  He  called  them  Occhio  de  Mosca,  or  fly-eyes  ""•- 
types  were  not  distributed,  but  destroyed  after  the  full 


of  each  ton 


cw  types  being  required  foi 


LEADED 

The  type  of  Farina  was  twenty  lines  to  the  inch,  but  it  was  not 
so  small  or  so  readable  as  the  minute  type  of  Henri  Didot.  Nor 
was  it  so  well  cut  and  cast  as  the  brilliant  type  of  John  Bellows, 
which  was  cast  on  a  body  of  the  same  size. 

In  1876  the  University  Press  of  Oxford  printed  an  edition  of  the 
Bible  in  diamond  type,  two  columns  to  the  page,  each  column  70 
lines  long.  The  leaf  is  two  and  one-sixth  inches  wide,  and  four 
and  one-half  inches  long.  The  book  bound  is  one-half  inch  thick, 
and  weighs  a  trifle  over  three  ounces  avoirdupois. 

The  smallest  good  type  of  the  fifteenth  century  known  to  col- 
lectors is  a  remarkably  neat  roman  letter  of  the  size  nonpareil 
(about  twelve  lines  to  the  inch),  which  was  used  in  1198  by  Gio- 
vanni and  Gregorio  de  Gregoriis  of  Venice,  in  a  beautiful  manual 
of  the  Offices  of  the  Church.  Considering  the  difficulty  of  cutting 
symmetrical  letters  on  so  small  a  body,  and  of  casting  them  in 
types  at  this  early  period  in  the  history  of  type-founding,  when 
tools  were  imperfect  and  experience  was  limited,  this  font  of  non- 
pareil may  be  rated  as  a  triumph  of  early  type-founding. 

Types  as  small  had  been  made  before.  In  1490  John  Froben  of 
Basle  printed  an  edition  of  the  Bible  in  Latin  from  types  of  the 
size  nonpareil  ;  but  these  types  were  of  Gothic  form,  and  were 
not  so  neatly  cut  or  cut. 

Diamond  hat  teventeen  lints  la  the  inch  and  contain!  almit 
one  hundred  word*  to  tat  square  inch  of  tolid  competition.  1  Wi 
have  two  fain  ofcaittfor  roman  and  one  jot  catefor  italic. 


Measurement  of  alphabet  in  12-point  ems 

ROMAN    CAPITALS,  ABCDEFGHIJKLMNOPQRSTUVWXYZ    .     .     .  7^4 
HOKAK  SHALL  CAPITALS,  ABODstVeKIJXIilIsTOVQBSTlTYWXrX 

Roman  lower-case,  abcdefghijklmnopu.rstuvwxyz •  O 

ITALIC  CAPITALS,  ABCDEFOI1IJKL1INOPQRSTVVWXYZ  7^ 

Italic  l°wr-ca»,a  IcitffkijUmnopqrituv**],* 5 

Figures,  1234667890,  on  en  body.     Fractions, 


4l<2-point  No.  16.     Bruce 

133 


The  Text  Types  of  the  ^De  Vinne  'Press 
FRENCH 


Measurement  in  12-point  ems 

CAPITALS.    .  2014 

SMALL   CAPITALS.     1334 

Lower-case  .  .  13^ 
EEEfig  EEEisg 
aae6eeii6uuuc. 
12345  aeilmnorst  67890 

Motteroz-faee.    Body  12 


LETTER  made  by  the  French  type- 
founders  has  some  peculiarities  that  attract 
the  American  reader,  but  they  are  slight  and  do 

not  offend  by  flagrant  eccen- 
tricity. We  keep  small  fonts 
only  of  a  few  sizes  and  faces 
that  are  of  good  service  in 
giving  a  distinct  French  flavor 
to  short  prefaces,  extracts, 
mottos,  and  quotations  in 
books  for  which  French  man- 
nerisms are  appropriate. 
The  faces  on  this  page  were  made  from  the  de- 
signs of  Claude  Motteroz  of  Paris,  who  has  here 
tried  to  graft  some  Old-style  mannerisms  on  the 
modern  cuts  of  roman  letter.  He  widens  all  the 
letters  (a  and  s  especially)  and  protracts  the  thick 
strokes,  claiming  that  the  very  small  type  of  Body 

5  is  thereby  made 
more  readable  than 
the    same    matter 
would  be  in  Body 

6  of  larger  size  and 
in  a  modern  style  of 
tyPe-     *I  We  have 


Tous  ces  grotesques  mots,  GaillarUe,  Trlm^giste, 

Gros-texte,  Gros-canon,  fastidieuse  lisle 

De  vains  noms  qu'ont  porters  tant  de  types  divers, 

Et  dont  le  seul  r6cit  attristerait  mes  vers, 

Noms  qui  de  leur  grosseur  et  de  leur  difference 

N'ont  pu  donner  encore  aucune  connaissance, 

II  sut  les  transformer  en  d'autres  plus  heureux 

Qui  marquent  clairement  tant  de  rapports  entre  eux. 

Son  nouveau  typometre  offre  une  regie  sOre : 

Chaque  type  s'accroit  par  6gale  mesure, 

Et  la  gradation  qu'avec  art  il  suivit 

Est  aussi  juste  a  1'oeil  qu'elle  est  claire  a  1'esprit. 


10 


one    case    only   of 

Measurement  in  12-point  ems  \  ,  .  , 

n™iN,1D,,4,c  -       each   size,    but  these  cases 

hold  the  accents  and  sorts 
most  needed  when  exact  re- 
printing in  French  style  is 
desired  by  the  customer. 


ROMAN  CAPITALS 

SMALL  CAPITALS  .      .  .      .  7^2 

Lower-case 7*2 

EEEEgfcEfeaaeeeeHoouiluc 
1234567890 

Motteroz-face.    Body  5 


134 


The  Text  Types  of  the  ^DeVinne  '•Press 
FEENCH 

MOTTEROZ  FACES  of  type, 
as  made  by  Turlot  in  Paris, 


\Vei  e           CHJOCLFLCU.  Measurement  in  12-point  ems 

by  the  Municipal  CAPITALS  .  ™ 

Council    of  that  SMALL  CAPS..2oi4 

city  for  school-  Lower-case.  ^ 
books,  but  they 
were  not  so  ap- 


eeeeiiouuug 


proved  by  other  «^3456789o)) 
publishers,  who  still  printed  with 
older  types  of  a  compressed  form. 

Motteroz-face.     Body  18.     Turlot.     One  pair  of  cases 


THE  LEGIBILITY  OF  PRINT,  or  the 
hygiene  of  typography  as  he  names  it, 
was  considered  some  years  ago  by  Dr. 
Javal  of  Paris,  in  articles  contributed  by 
him  to  the  «  Revue  Scientifique  »  of  that  city. 
The  height  and  width  of  print  letters,  the 
breadth  of  the  stem  or  thick  stroke,  the 
sharpness  of  the  hair-lines,  the  length  of  the 
serifs,  and  the  relief  of  white  space  within 
and  without  each  character,  were  separately 
examined  for  their  effect  on  this  legibility. 
His  conclusions  are  but  incompletely  pre- 
sented in  this  summary:— In  reading,  the 
eye  insensibly  pursues  an  imperceptible 
horizontal  stroke  through  the  middle  of 
each  line.  The  legibility  of  print  is  largely 
governed  by  the  shape  of  letters  above  this 
horizontal  line.  The  lower  half  of  the  type 
in  this  line  contributes  but  little  to  legibility. 
Cover  the  upper  half  of  the  line  and  the 
print  below  will  be  indistinct  and  perhaps 
unmeaning. — The  eye  has  been  trained  to 
read  words  at  first  glance ;  we  do  not  sep- 
arately identify  and  combine  the  print  letters 


to  form  a  word.— Serifs  at  the  ends  of  many 
thick  strokes  are  needed  to  keep  the  letters 
apart  and  produce  distinctness. — A  broad 
letter  is  more  readable  than  a  tall  narrow 
letter,  but  the  breadth  of  type  cannot  be 
regulated  by  arbitrary  rule. — Some  relief  of 
white  space  between  words  is  important, 
but  the  insertion 
of  leads  between 
lines  is  not  so  im- 
portant for  legibili- 
ty as  is  believed  by 
many  readers.  — 
The  doctor  favors 
much  compactness 
in  composition,  but 
this  conclusion  is  opposed  by  the  experience 
of  publishers.  Leads  between  lines  can  be 
and  often  are  used  to  unwise  excess,  but 
leaded  composition  is  preferred  by  all 
readers  for  its  superior  legibility.  Leading 
does  not  make  single  types  any  clearer,  but 
it  does  relieve  the  eye  from  the  gloominess 
of  excess  of  black. 


Measurement  in!2-pt. 
CAPITALS  .  ll3* 

SMALL   CAPS.     .       8 

Lower-case  .  784 
E  E  E  CE  EEc.aa 
eeeeiiduuuc. 
«  1  234567890  » 


Motteroz-face.     Body  6.     Turlot.     One  job  case 

135 


The  Text  Types  of  the  ^eVinne  Press 


FEENCH 

FRANCOIS  -AMBROISE    DIDOT  was  born   in 
Paris,  7th  January,  1730,  and  died  10th  July,  1804. 
He  gave  considerable  attention  to  the  improvement 

of  type-founding  and  of  paper- 

Measurement  m  12-pt.  ems  making.  His  system  of  typo- 
CAPITALS  18^  graphic  points  supplanted  that 
SMALL  CAPITALS  12^  of  Journier.  At  his  suggestion, 

anf*  bY  "•  ^  the  paper-maker 
Johannot  first  made  the  papier 
velin,  or  supercalendered  paper. 
His  most  celebrated  works  are 
the  "  Dauphin  "  edition  of  the 
classics,  in  thirty-two  volumes, 
4to,  and  the  "  Artois"  edition  of 

•    ,      /•  i  •  «  i_  •    i_ 

sixty-four  volumes,  18mo,  which 
are  highly  prized  by  all  collectors.  Firmin-Didot, 
the  second  son  of  Ambroise,  and  brother  to  Pierre, 
born  1764,  died  1836,  was  also  expert  as  a  printer. 

Motteroz-face.    Body  11.     Turlot.     One  job  case 


Lower-case    .  13 
..... 
EEEEQEEEEg 

aaeeeeiiouuc. 

1234  567890 

/  a  a  e  i  m  n  o  r  s  t  »  \ 

No  italic  to  Motteroz  fonts 


TpIRMIN-DIDOT  was  appointed  printer  to  the  King  and 
Jj    to  the  French  Institute,  and  was  decorated  with  the 

medal  of  the  Legion  of  Honor. 
His  portrait  is  in  the  gallery  of 
the  Louvre  and  the  hall  of  the 

TIT        •  •  1     T-»      •        i'  y-yfV-t  T-v 

National  Printing  Office,  Pans. 


Measurement  in  12-point  ems 
rAPTTAT«5 

V-4/i.Jl    1  A  rllJkJ       ....... 

SMALL  CAPITALS    ....    12 

Lower-case  .......  in* 

ITALIC  CAPITALS  1634 
Italic  lower-case  .  .  . 


AMBROISE  FIRMIN-DIDOT, 

J\_  the  son  of  Firmin,  was 
born  at  Paris,  on  the  20th  of 
December,  1790,  and  died  on 
the  22d  of  February,  1876. 
Re  wag  eminent  as  a  printer 

and  as  the  publisher  of  famous 
books  ;  was  a  punch-cutter  and 
type-founder,  the  president  of 

several  typographical  associations,  a  diligent  collector  of 
books,  and  the  most  learned  typographer  of  France.  €][  One 
pair  of  cases  for  roman  and  one  job  case  for  italic. 

French  Light-face  (Eoman  No.  7).    Body  10.    Mayeur 

136 


.,          ..         . 

s  e  i  i  o  u       i  c, 

1234567890 

«acdefghikimnorstv^» 


The  Text  Types  of  the  <De  Vinne  '•Press 

FRENCH 

FRENCH  TYPE-FOUNDERS  made  a  departure 
in  their  types  about  the  beginning  of  the  nine- 
teenth century.  Rodoni  of  Italy  had  set  them 
enviable  examples  in  the  roundness,  clearness,  and 
openness  of  his  new  faces  of  type,  which  compelled 
the  admiration  of  all  readers  and  the  imitation  of 
printers  in  every  part  of  the  world.  The  Didot 
Printing  House  at  Paris  was  not  satisfied  to  be 
a  servile  imitator.  It  maintained  the  roundness 
and  clearness  of  the  Rodoni  letter,  but  it  shortened 
ascending  and  descending  letters  and  produced 
all  the  needed  open- 
ness of  print  bv  USe  Measurement  of  alphabet  in  12-point  ems 

of  more  leads.     Its  ROMAN  CAPITALS .    .20 

new  characters  were  SMALL  CAPITALS  ,  141j| 

made  a  trine  wider  T 

than   those    of  Bo-  Lower-case 14^ 

doni,  and  barely  es-    ITALIC  CAPITALS   .  2034 
caped  the  censure  of    Italic  lower-case     ...   14 
undue  obesity    The     I23456:789O 
stem  or  thick  stroke      ,  s  7  ..          ,  ^  „ 
was  widened  and  the    EEEEQ     EEEEQ 
hair-line  and  its  serif    aaeee*eiiduuuc  adeeeeiioMil 
made    sharper.       It    /^acdefghikimnorstv^    /  \ 
was   supposed  that 

the  legibility  of  print  would  be  increased  by  broad- 
ening the  thick  strokes  and  by  sharpening  the  hair- 
line— a  treatment  that  emphasized  the  contrast. 
The  new  face  thus  made  by  the  Didot  Printing 
House  found  favor  in  England  even  among  printers 
who  had  refused  to  make  use  of  the  excessively 
black  and  corpulent  faces   produced   by  Robert 
Thome .    Readers  weary  of  the  hard  angles  and  stiff 
forms  of  the  Caslon  model  accepted  the  new  Didot 
face  as  a  welcome  improvement,      fl  We  have  one 
pair  of  cases  for  roman  and  one  job  case  for  italic. 

Didot-face.     Body  12.    Mayeur 

137 


The  Text  Types  of  the  <DeVinne  Press 

FEENCH 

AUX  YEUX  DU  PUBLIC  PROFANE,  il  semble  qu'on 

l\     n'ait  a  s'occuper  que  du  format,  du  papier,  du  carac- 

/~\  tere,  du  nombre  de  pages,  pour  que  le  premier  prote 

venu  puisse  mener  a  bien  une  impression  de  volume. —  II 

en  est  tout  autrement,  si  Ton  sent  en  soi  1'amour  du  livre, 

aussi  bien  que  le  respect  des  traditions. 

II  ne  faut  pas  tout  d'abord  blesser  les  regies  typographiques 
ni  s'y  renfermer  aveuglement.  Le  papier  une  fois  choisi, 
dans  le  format  in- 18  ou  in-8°,  il  s'agit  d'arreter  la  hauteur 
de  page  et  la  justification,  c'est-a-dire  de  mettre  le  texte  en 

harmonic  avec  les  marges ;  il  con- 
Measurement  in  12-pomt  ems  .         jj*.  i_i-     i 

RHMAivrApTTATQ  v  etablir  le  litre  courant, 

JM  AIM  LAP  1  ALb .  ]         de  juger  des  diyers  jnterlignages, 

SMALL  CAPITALS  ...  ii  (je  recommencer  dix,  quinze, 
Lower-case  .  .  .  .  n  vingt  fois  le  type  specimen  d'une 
ITALIC  CAPITALS  w*  Page>  observant,  critiquant,  cli- 

Italic  lower-case  .  .  11  8nant  <*?,  roeil>  W*  ce  ^ 
\wt  p;A7ft  /ixf;>72Qn  la  ponderation  parfaite  ait  ete 
12,l45678  456789°  attemte;puis,celafait,viennent 
EEEQ  EE E Q  Efififig  les  questions  des  blancs,  les  fins 
aaeeee'iiouuiic.  de  chapitres,  « 1'habillage  »  des 
aaeeeel'iouuuQ  vignettes  et  enfm  le  titre. 
/^acdefghikimorstv/N  Le  titrQ  I  cela  semble  tout 

simple,  mais  rien  n'est  aussi 

malaise  quede  le  combiner  dans  sa  perfection,  selon  les  regies 
de  la  typographic  et  du  bon  gout;  on  en  compose  dix  et  ce 
n'est  pas  cela;  on  recommence;  de  la  capitale  on  passe  au bas 
de  casse,  du  bas  de  casse  a  la  lettre  fantaisiste,  on  cherche 
dans  le  moderne,  dans  Yelzevir,  dans  la  renaissance:  on 
combine,  on  melange  les  races  de  caracteres;  on  coupe,  on 
divise,  on  subdivise,  on  resserre  les  textes  ou  bien  on  les 
aere,  et  ce  n'est  qu'apres  un  labeur  parfois  incroyable  qu'on 
obtient  le  titre  reve,  serieux,  qui  fait  plaisir  a  voir  et  en- 
gage le  lecteur  a  pousser  plus  loin  dans  les  colonnes  serrees  du 
volume.  €J  We  have  one  pair  of  cases  for  roman  and  one  job 
case  for  italic. 

Compressed  French-face.     Body  12.     Mayeur 

138 


The  Text  Types  of  the  *De  Vinne  Press 
FARMER 

IN  1804  Elihu  White  and  William  Wing,  of  Hartford,  Connecticut,  under- 
took to  make  types  without  any  experience  in  type-founding,  and  even 
without  any  knowledge  whatever  of  the  construction  of  the  approved  form  of 
type-mould.  After  repeated  failures,  they 
were  obliged  to  send  one  of  their  workmen  to 
the  foundry  of  Binny  and  Ronaldson,  of  Phila- 
delphia, but  he  failed  to  get  the  knowledge 
needed.  After  doing  a  limited  business  in 
Hartford,  White  separated  from  Wing,  moved 
his  foundry  to  New  York  in  1810,  and  made 
type  in  an  old  building  on  Beach  Street. 
The  business  was  continued  by  his  son,  JohnT. 
White,  who  was  succeeded  by  Norman  White, 
and  when  his  son  was  admitted  to  the  partner- 
ship the  firm-name  was  changed  to  Charles  T. 
White  &  Co.  Charles  T.  White  retired  in 
1854,  after  selling  the  type-foundry  to  his  em- 
ployees, who  carried  on  business  under  the 
name  of  Farmer,  Little  &  Co.  The  business 
is  now  carried  on  by  William  Farmer,  under 
the  name  of  A.  D.  Farmer  &  Son  Type  Founding  Co.  q  Of  this  font  we  have 
two  pairs  and  one  job  case  for  roman,  one  for  italic,  four  for  accents,  and  two 
for  astronomical  and  mathematical  signs. 

8-point  No.  13,  old  body 


Measurement  in  12-point  ems 
CAPITALS    ....    1212 

SMALL  CAPITALS       .      .10 

Lower-case  .....      9 
ITALIC  CAPITALS  13^ 
Italic  lower-case  ...      s^ 
123  456  78  9  Q1234567890 
1  A  1  A  E  fi  i  6  tf  C  N 


ChSTiThTh  WhOu  ng  ow  dh  sli 


-^     a    b    t    d     <  f   g  h    i  jkl    m 

Font  includes  all  regular 
accents 


Measurement  in  12-point  ems 
CAPITALS  ....     13 

SMALL   CAPITALS  .      .      .          9*4 

Lower-case     ....       9 
ITALIC  CAPITALS   14 

Italic  lower-case     .     .       8*2 


IN  1806  ROBERT  LOTHIAN  of  Scotland  tried  and  failed  to  establish  a  type- 
foundry  in  New  York.  His  son  George  B.  Lothian,  who  had  been  taught 
the  trade  of  stereotyping  in  the  stereotype- 
foundries  of  John  Watts  of  New  York  and  B.  & 
J.  Collins  of  Philadelphia,  and  had  also  received 
instruction  from  his  father  and  from  Elihu 
White  in  type-founding, undertook  to  establish 
a  type-foundry  in  Pittsburgh,  Pennsylvania. 
It  was  an  unsuccessful  enterprise,  and  Lothian 
returned  to  New  York.  In  1822  he  undertook 
to  make  type  for  the  old  firm  of  Harper  & 
Brothers.  The  face  of  Greek  which  he  cut 
for  the  Anthon  Classical  Series  was  very  much 
admired.  Soon  after  his  death,  in  1851,  the 
foundry  was  bought  by  Cortelyou  &  Gifflng. 
In  1875  the  business  of  the  foundry  ceased. 
One  square  inch  of  this  type  in  leaded  composi- 
tion takes  in  about  twenty-three  words  of  ordi- 
nary length,  q  Of  this  font  we  have  two  pairs  of  cases  for  roman,  one  for  italic, 
and  one  for  accents. 

8-point  No.  15,  old  body 

189 


EE  g  N    isdfcgS    ti  G  ff 
aaaaa&aeeeeiog  dddadaaeeeewc 

1884667890  1834567890  I/I/ 3/ 1/ S/ 
T^T^rrSTT  7472247373 

><%  X-H++  =  |  3  9  tt>/  y 

Font  includes  all  regular 

accents  and  signs 


The  Text  Types  of  the  Oe  Vinne  Press 


FARMER 

DAVID  BKUCE,  JR.,  son  of  David,  at  a  very  early  age  gave  close 
attention  to  the  mechanics  of  type  -  casting.  The  machines  of 
Wing  &  White,  of  Starr  &  Sturdevant 
of  Boston,  and  William  M.  Johnson  of 
Hempstead,  had  been  tried  and  rejected  by 
the  trade.  In  1833  D.  Bruce,  Jr.,  made  a 
machine  that  was  generally  adopted  and 
had  no  worthy  rival  for  more  than  fifty 
years.  He  also  invented  a  type -rubbing 
and  dressing  machine  of  merit,  and  was 
fairly  successful  as  a  punch-cutter.  Many 
meritorious  forms  of  letter  were  designed 
and  engraved  by  his  hand. 

David  Wolfe  Bruce  (born  in  New  York  in 
1823)  succeeded  to  the  business  of  George 
Bruce,  which  he  continued,  in  partnership 
with  James  Lindsay,  under  the  name  of 
George  Bruce's  Son  &  Co.  David  Wolfe 

Bruce  retired  from  business  in  1890,  transferring  the  foundry  to  his  em- 
ployees, and  died  in  1892.    <J  Of  this  font  we  have  four  pairs  of  cases  for 
roman,  one  for  italic,  one  for  accents,  and  four  for  mathematical  signs. 
9-point  No.  15,  old  body 


Measurement  in  12-point  ems 
CAPITALS  ....   13 

SMALL  CAPITALS       .      .10 

Lower-case  ....  9*4 
ITALIC  CAPITALS  14 
Italic  lower-case  .  .  9^ 
1234567890  1234567890 
lAAEIOUg  AAAEIOUC 
aaaaaaaaeidun'c  dadaadadelb 

18345      1SS466T800     6 


Font  includes  usual  accents 
and  signs 


JAMES  CONNEE,  a  printer  of  New  York,  began  business  as 
a  stereotyper  in  that  city  in  the  year  1827.      His   was    the 

first  stereotype  edition  of  the  New 
Testament.  He  also  earned  a  good 
reputation  as  the  publisher  in  the 
United  States  of  the  Bible  in  folio 
form.  To  the  business  of  stereo- 
typing he  soon  after  added  that  of 
type-founding,  in  which  he  was  re- 
markably successful.  With  the  aid  of 
Edwin  Starr,  then  in  his  employ,  he 
made  the  electrotype  matrices  which 
enabled  him  largely  to  increase  the 
stock  of  his  foundry.  After  the 
death  of  James  Conner  in  1861  the 

foundry  was  managed  by  his  sons  and  grandsons,  who  merged 
the  business  in  that  of  the  American  Type  Founders  Company.  Q  Of 
this  font  we  have  two  pairs  of  cases  for  roman  and  one  for  italic. 

9-point  No.  18 

140 


Measurement  in  12-pt.  ems 
CAPITALS  .....   1413 

SMALL  CAPITALS  .   .   .     10% 

Lower-case    .....   1013 
ITALIC  CAPS  .  .   15i4 
Italic  lower-case   .  .    10 
1234567890  >"«»<>"»>o 


aaaaaauyiQgg  daaaeeii66$  § 


The  Text  Types  of  the  ^DeVinne  'Press 


1513 
12 


Measurement  in  12-point  ems 
CAPITALS .     . 

SMALL  CAPITALS 

Lower-case    . 
ITALIC  CAPS 
Italic  lower-case      .  10 
1234567890     1234567890 


FARMER 

"N  1820  LAWRENCE  JOHNSON,  a  printer  of  England,  es- 
tablished as  a  stereotyper  in  Philadelphia.  In  1833  he  formed 
a  partnership  with  George  F.  Smith  for  the  purpose  of 

buying  the  type-foundry  of  Richard  Ronaldson.     Tinder  the  new 

management  the  operation  of  the  foundry  was  largely  extended. 

In  1843  George  F.  Smith  withdrew.     In  1845  Johnson  admitted  to 

partnership  Thomas  MacKellar,  John  F.  Smith,  and  Richard  Smith, 

who  had  been  trusted  employees  of  this  house.     Peter  A.  Jordan  was 

added  afterward.     Before  his  death  in 

1860,  Johnson  sold  the  foundry  to  his 

junior   partners,    who    continued    the 

business  under  the  name  of  MacKellar, 

Smith   &  Jordan   Company,    but   the 

house  never  lost  its  old  name  of  the 

Johnson   Foundry. 

For  many  years  the  Johnson  Foundry 

had  a  great  distinction  among  printers     AEEECN  AAAACS  A  Ctf 

for  its  diligence  in  electrotyping  foreign 

designs,  as  well  as  in  originating  new 

faces  for  ornamental  types  and  bor- 
ders.    The  appetite  for  typographical 

decoration  was   largely  developed   by 

the  publication  of  the  "Typographic 

Advertiser/'  a  quarterly  journal  that 

contained  a  deal  of  appropriate  matter 

from  the  pen  of  Mr.  MacKellar.     An 

examination  of  their  quarto  specimen      (lQQ$35d6>An^c 

book   of  1865  will  show  a  surprising 

quantity  of  decorative  material  now  out  of  fashion.    John  F.  Smith 

was  born  January  20,  1815,  and  died  November  1,  1889.     Peter  A. 

Jordan  was  born  in  Philadelphia  the  30th  of  May,  1822,  and  died 

there  the  25th  of  March,  1884.     Richard  Smith  died  September  8, 

1894.     In  1892  the  MacKellar,  Smith  &  Jordan  Company  became 

the  Philadelphia  branch  of  the  American  Type  Founders  Company. 

«|  Tliis  No.  IS  face  of  Long-primer  contains  an  unusual  variety  of 

signs,  accents,  tied  letters,  and  irregular  sorts.     Of  this  font  we 

have  seven  pairs  of  cases  for  roman,  two  for  italic,  six  for  accents, 

and  five  for  algebraic  and  astronomical  signs. 

10-point  No.  13,  old  body 

141 


%  f  ChStThThWhOung 

12345678  ' 


1234567890 


$  $ 


The  Text  Types  of  the  "-De  Vinne  'Press 
FARMER 

BROAD-FACE 

BROAD  faces  with  unusually  long  serifs,  made  to  fill  the 
gaps  of  widely  separated  thick  strokes,  may  be  disappoint- 
ing in  book  work.  Stems  too  wide  apart  hinder  neat  spacing. 
Book  printers  and  publishers  object  to  them  as  mechanically 
incorrect,  for  the  wider  separation  of  stems  makes  more  diffi- 
cult the  close  and  proper  fitting  of  contiguous  types.  In 

this  font  of  a  moderately  broad  face, 
Measurement  in  12-pt.  ems     these  difficulties  are  fairly  avoided. 
CAPITALS     .   17  Broad  or  expanded  faces,  not  good 

Lower-case  .     .   111^     f°r  strict  book  work,  are  often  needed 

for  any  composition  in  which  it  seems 

necessary  to  fill  space  as  to  width  more  than  as  to  height.  A 
broad  face  with  plenty  of  white  relief  gives  a  clearness  to 
print  not  to  be  had  by  the  use  of  capitals  or  of  bolder  type, 
while  it  is  entirely  free  from  the  appearance  of  bold  or  vulgar 
display.  It  can  be  used  to  good  advantage  for  the  short  lines 
in  circulars  and  catalogues  and  the  open  display  of  small  job 
work.  9  One  job  case.  No  italic  or  small  capitals. 

10-point,  old  body 

LIGHT-FACE 

riHHIS  is  an  extremely  light  face  of  decided  merit,  but  too  thin 

-L    and  too  light  to  be  used  as  a  text  type  for  descriptive  matter 

set  solid.     It  shows  to  best  advantage  in  an  extract,  in  a  motto  or 

verse  of  poetry,  in  leaded  or  double-leaded  matter,  or  in  any  work 

which  has  broad  margins  and  large  spaces 

Measurement  in  12-pt.  ems  of  white.  It  once  found  occasional  em- 
CAPITALS.  16  ployment  in  the  titles  or  descriptions  of 
Lower-case  .  .1084  plates  when  these  titles  were  printed,  as 

was  the  fashion,  on  thin  paper  facing  the 

plate,  but  in  any  place  it  causes  a  strain  on  ordinary  eyesight 
If  Of  this  font  we  have  one  job  case  only  without  its  italic.  It 
is  a  font  now  in  slight  request  and  will  not  be  replenished.  Use 
it  only  for  extracts  as  may  be  ordered. 

11 -point,  old  body 

142 


The  Text  Types  of  the  <De  Vinne 
FARMER 

BENJAMIN  FRANKLIN,  when  in  Paris,  bought  from 
Fournier,  the  inventor  of  a  point  system,  a  complete 
equipment  for  a  type-foundry  intended  to  be  estab- 
lished in  Philadelphia.    To  this  end  Franklin  asked  his 
grandson  B.  F.  Bache  to  receive  instruction  from  Fournier, 
that  he  might  be  qualified  to  manage  the  foundry.    Franklin 
and  his  grandson  arrived  in  Philadelphia  in  1775,  and  began 
the  business  of  type-founding,  but  Bache  was  not  successful. 
Thomas  says  that  he  did  not  or 

COuld  not  make  good  types.      The        Measurement  in  12-pt.  ems 

foundry  was  neglected,  and  Bache  CAPITALS  ...   1714 

turned  more  of  his    attention   to  SMALL  CAPITALS  13 

printing.  The  type-founding  appa-  Lower-case  .  .  . 

ratus,  given  to  his  relative  Duane,  ITALIC  CAPS  18% 

was  by  him  transferred  to  Binny  Italic  lower-case  12 

and  Eonaldson,  who  acknowledged  12345678901834567890 

that  they  had  received  many  valu-  AAAEIQN^  gM6 

able  suggestions  from  the  French  aeiouuxyzg-egfiodbsgu 

tools  so  provided.  QNaeiduuyyqn 

The  point  system  was  here  in!775.  Ch  Sh  Th  Th  Wn  Ou  cli 

It  may  be  assumed  that  these  Phila-  abcdefghijkimnopqrstu  vwyz 

delphia  founders  used  the  Fournier  waoyauoe'e'ii 

moulds,  and  that  the  standard  of  123456789°    HiiiltlM 
sizes  they  adopted  was  accepted  by 

their  Successors,  L.  Johnson  &  Co.,  Font  inel™les  all  regular 

:a  XT-    Tkj-      IT-  11         a     -XT.   o    T      j  accents  and  signs 

and  the  MacKellar,  Smith  &  Jordan 

Company.  The  deviation  afterward  made  (about  four  points 
in  one  thousand)  may  be  understood  as  the  result  of  imper- 
ceptible changes  produced  after  more  than  a  century  of  wear. 
Thomas  says  that  Fournier  sold  old  tools.  This  does 
not  seem  very  probable.  Franklin,  himself  an  inventor, 
would  most  naturally  prefer  the  mry  latest  invention  in 
type-making.  <J  Of  this  font  we  have  four  pairs  of  cases 
for  roman,  one  pair  for  italic,  and  four  cases  for  accents 
and  various  diacritical  and  mathematical  signs  useful  in 
educational  works. 

11 -point  No.  12,  old  body 

143 


The  Text  Types  of  the  ^eVinne  'Press 

FARMER 

JOHN  BAINE  (once  partner  with  Alexander  "Wilson  of 
Glasgow)  and  his  grandson  began  a  type-foundry  in  Phila- 
delphia in  the  year  1785.    They  were  the  first  skilled  founders 
in  the  city,  and  soon  had  full  employ- 
Measurement  in  12-pt.  ems     ment)   one   of    their    most    important 

CAPITALS  .  .  16*2  orders  being  a  large  font  of  types  for 
SMALL  CAPITALS  .  ni4  an  encyclopedia  printed  by  Dobson. 
Lower-case  .  .  .  11  In  1T90  the  elder  Baine  died.  Soon 

1234567890  after,  the  grandson  abandoned  the  busi- 
No  italic  ness  an(^  removed  to  Augusta,  Georgia, 

where  he  died  in  1799. 

Benjamin  Mecom,  a  printer  and  the  nephew  of  Benjamin 
Franklin,  about  the  year  1775  made  stereotype  plates  for 
some  pages  of  the  New  Testament,  but  he  never  completed 
the  undertaking.  CjJ  Of  this  font  we  have  two  job  cases.  Use 
for  repairs  only. 

ll-point  No.  13,  old  body 


T 


HE  BOSTON  TYPE  FOUNDRY  began  in  1817, 
and  undertook  to  cast  types,  set  types,  and  make 
stereotype  plates.     Its  earliest 

Measurement  in  12-point  ems  .        *  ,   A  .  _, 

n  A  T>TT  A  T  o  specimen  book,  of  1820,  ottered 

UArllA.Lo  ....   19  -.-,-  .,  ,   ,,  -.. 

SMALL  CAPITALS   .  .  is  Nonpareil  at  a  dollar  and  forty 

Lower-case  121*2  cents  and  Pearl  at  a  dollar  and 

ITALIC  CAPS .  2012  seventy-five  cents  per  pound. 

Italic  lower-case .  .  12  Between  the  years  1830  and  1838 

123456     567890  tne  Boston  Type  Foundry  gave 

AAfi£Q$T     AAlEEEEg  appreciated  encouragement  to 

aaaaaftcn  cgnk6st  David  Bruce,  Junior,  who  was 

AAAfiEfiOftftCN  ^en   exPeI>imenting  with  his 

daddadeeelliQn  type-casting  machine.  Q  Of  this 

font  we  have  one  pair  of  cases 
for  roman,  one  job  case  for  italic,  and  one  for  accents. 

12-point  No.  6,  old  body 
144 


The  Text  Types  of  the  'DeVinne  <Press 
FARMER 

REAT-PRIMER  No.  4  from  the 
Farmer  Foundry  has  a  face  lighter 
than  other  Great-primers  here  exhibited 
from  the  Bruce  and  Conner  foundries. 
Its  small  capitals 

-  _         i  ..  Measurement  in  12-point  ems 

are  closely  fitted.  n  A  -pTT  .  T  Q 

Figures  for  italic.  ^A1    LALb  ' 
roman,  script,  as         ALL  CAPITALS 
well  asW  letters 


and  many  accents 

for       educational    /tofoc  lower-case 


28 


work,  are  provid-     1234567890 

ed  for  books  that     567890  4234567 


call  for  odd  sorts  8^0 
of  irregular  form,  aaaaaaaaa  aaewuyy 
Do  not  confound  aaa-eggn§syy  ob  do 
this  No.4  face  with  a  a  ee  H  do  uu  yy 
the  larger  font  of  Oh  Sh  Th  Th  Wh  Ou 
Great-primerused  ngowouthfhWh^hdh 
for  the  Jade  book. 

The  transfer  of  the  odd  sorts  of  one  style 
to  composition  in  another  style  may  pro- 
duce trouble,  fl  Of  this  font  we  have  two 
pairs  of  cases  for  roman  and  one  job 
case  for  italic.  Seven  words  to  one  square 
inch,  solid. 

18-point  No.  4,  old  body 

145 


The  Text  Types  of  the  Oe  Vinne 


14 


FARMEB 

SAMUEL    NELSON    DICKINSON,  born    1801, 
died  1848,  a  notable  type-founder  of  Boston, 

was  taught  the  trade  of  a 
printer  in  the  State  of  New 
York,  but  afterward  was 
employed  as  a  compositor  in 
the  Boston  Type  and  Stereo- 
type Foundry.  In  1829  he 
began  business  as  a  master 
printer.  The  style  once 
known  as  Scotch -face  was 
modelled  by  him  in  1837,  but 
cut  and  cast  to  his  order  by  Alexander  Wilson  & 
Son  of  Glasgow,  fl  Of  this  font  we  have  two  pairs 
of  cases  for  roman  and  one  job  case  for  italic. 

12-point  No.  18,  old  body.     Farmer 


Measurement  in  12-point  ems 

CAPITALS     . 

SMALL  CAPITALS 

Lower-case.  . 
ITALIC  CAPS.  21 
Italic  lower-case  .  is 
1234567890  1234561  890 

No  accents 


THIS  ENGLISH  or  14-point  No.  4  of  American 
Type  Founders  Company  is  a  font  of  small  size, 
reserved  for  repairs  or  the  additions  to  electrotype 

plates  previously  prepared 
from  this  face  of  type.    Do 


13 


Measurement  in  12-point  ems 

CAPITALS    .     . 

SMALL  CAPITALS      . 

Lower-case     .     . 
ITALIC  CAPS. 

Italic  lower-case  .  1212 
12345  123456789°  67890 
d,aaaaa£aaeeei6go6o 
douiiuim  yy  gnn§sx  th 


not  select  it  for  any  compo- 
sition of  length.  Its  small 
capitals  are  unnecessarily 
small,  and  its  italic  is  un- 
usually condensed.  It  has 
lower-case  accents  and  dia- 
critical  marks,  fl  Of  this  font 
we  have  one  pair  and  one  job 
case  for  roman,  one  job  case 


D~§||;|!t*iiiitfi      for  italic,  and  one  accent  case. 

14-point  No.  4,  old  body.     A.  T.  F.  Co. 
146 


The  Text  Types  of  the  <De  Vinne  Press 
CONNER 

GTIEAT-PKIMER  No.  4  from  the 
Conner  Foundry  was  the  letter 
selected  by  a  committee  of  the 
PEOTESTANT  EPISCOPAL  CmiECHofthe 
United  States  authorized  to  prepare  a 
new  edition  in  folio  of  the  Book  of  Com- 
mon Prayer  according  to  the  standard 
of  1892.      A  limited  number  of  copies 
of  this    edition   in 

.  Measurement  in  12 -point  ems 

loho,   suitably  dec- 

orated,  was  printed  CAPITALS.     .  ^ 

in  1893  by  the  De  SMALL  CAPITALS  19 

Vinne  Press.  Lower-case  .     .  is 

This  18-point  type  ITALIC  GAPS  26 

was  also  used  by  the  Italic  lower-case   15 

De  Vinne  Press  in  1234567  4567890 
printing  the  great 

folio  of  HEBEE  BISHOP,  descriptive  of  his 
collection  of  Jades  now  in  the  Metro- 
politan Museum  of  Art. 

Selection  of  this  face  was  made  after 
a  critical  examination  of  many  styles 
shown  in  the  specimen  books  of  the  leading 
type-founders  here  and  abroad.  IJ  Of  this 
font  we  have  five  pairs  of  cases  for  roman 
and  one  job  case  for  italic. 

18-point  No.  4,  old  body 


147 


The  Text  Types  of  the  <De  1)inne  'Press 
M.  &R. 


NONPAREIL  No.  22  of  Miller  &  Richard  was  designed  and  cast  by  that  firm  for  the 
small  text  type  of  the  Century  Dictionary.  It  is  now  made  by  the  Bruce  Foundry  of 
New  York.  For  Dictionary  service  it  was  provided  with 
a  great  variety  of  accents  for  the  two  series  of  capitals  and 
lower-case.  It  is  also  equipped  with  superior  and  inferior 
figures  and  letters  for  reference.  It  has  piece  fractions  upon 
the  3-point  body.  Algebraic,  astronomical,  and  physical 
signs  are  other  serviceable  additions.  Please  note  that  this 
letter  is  a  compressed  type  of  thin  face  with  lower-case  sorts 
that  are  below  the  standards  of  the  Typographical  Unions, 
and  are  consequently  paid  for  at  an  extra  rate  of  composi- 
tion. This  face  can  be  selected  with  propriety  for  side-notes 
or  cuMn  notes  of  a  text  that  has  been  set  in  compressed 
types  on  a  large  body. 

For  side-headings  or  for  displayed  words  in  the  text  choose 
the  antique  of  Miller  &  Richard  as  used  in  the  Century 
Dictionary.  It  does  not  line  truly  with  the  roman,  but  it  is 
preferred  by  most  writers  over  all  other  styles  for  words  of 
display. 

This  nonpareil  when  set  solid  takes  in  about  forty-seven 
words  to  the  square  inch  ;  if  leaded,  about  thirty-four 
words. 

Do  not  mix  its  sorts  toitk  types  of  other  fonts.  \  Of  this  face  we  have  twenty-five  pairs  of  Rooter 
cases  for  roman,  twenty-five  for  italic,  and  seven  cases  for  accents. 

6-point  No.  22.     Bruce 


Measurement  in  12-pt.  ems 
ROMAN  CAPITALS  .  10 

SMALL  CAPITALS    ...          8^4. 

Lower-case  .....       7^-4 
ITALIC  CAPITALS  .    10^ 
Italic  lower-case  ...       7 
1234567890 

iUIUHi    H3iil?ll8 

12345678901234567890 
abcdefghyklmnopq  jklmnopqrstuvwiyz 
AAAAAAAEEEEEfifitll66o6 


e'eeeeeeeeeilliil  66od666660p.  uuu 
iiuuvuuuun  bcddggfinnnsttyyyy 
(Idaa&a  e  efe  i.  iifit  006 
oS  tiitti,  UU&  yyyyyy  ffl 

^Z~4*-=  X+  -T-  ±<*> 
l/"'08$@5fc  16/3H538 


NONPAREIL  A  of  Miller  &  Richard  is  a  very  small  font  that  should  not  be  selected  with- 
out special  order.    We  have  two  pairs  of  cases  for  roman,  one  for  italic,  five  cases  for  accents, 
and  one  for  astronomical  signs,  etc.    The  font  is  of  use  mainly  for  almanacs.    Note  also  figures  for 
roman  and  italic.  Please  take  special  care  not  to  mix  the  sorts 
of  A  and  22  with  other  faces  of  nonpareil  or  6-point 


Measurement  in  12-pt.  ems 

10 

9% 


ROMAN  CAPITALS 

SMALL   CAPITALS       .. 

Lower-case 
ITALIC  CAPITALS  . 
Italic  lower-case      .. 
1234567890  1Z3M67890 


Great  blest  Master  Printer,  come 
Into  thy  composing  room  : 
Wipe  away  our  foul  offences, 
Make,  O  make  onr  souls  and  senses, 
The  upper  and  the  lower  cases  ; 
And  thy  large  alphabet  of  graces 
The  letter,  which  being  ever  fit, 
O  haste  thou  to  distribute  it : 
For  there  is  (I  make  account) 
No  imperfection  in  the  fount. 

Nonpareil,  and  the  still  smaller  size  of  agate  or  5}-point,  find 
their  greatest  employment  in  the  advertisements  of  daily  news- 
papers, but  they  are  of  good  service  in  book -printing  houses 
for  the  foot  and  cut-in  notes  of  pages  set  in  larger  type,  for 

indexes,  tables,  and  other  kinds  of  composition  in  which  it  is  necessary  to  crowd  much  matter  in  a 
small  space.  These  sizes  are  also  much  needed  for  pocket -editions  of  the  Bible  and  devotional 
books,  of  which  millions  of  copies  are  sold  every  year. 

6-point  A,  old  body.     M.  &  R. 
148 


aaaaas  eeeeefi  uiiHoddooouuuuun 
AAAA6I6  UfftaoMeelldouiiucn 
T  8  n  ©  R  nn=2=ni  t  <G  .WMOO® 

5  9  ilOIJII  6«JP*i@Jtl2H 


The  Text  Types  of  the  <De  Vinne  "Press 


M.  &  E. 

BREVIER  B  of  Miller  &  Richard  is  another  small  font  that  has  been  needed 
mainly  for  the  repair  of  bruised  electrotype  plates  made  from  this  face,  or  for 
the  composition  of  paragraphs  or  extracts  which 
have  to  be  added  to  or  inserted  in  a  text  type 
of  the  same  face  on  a  larger  body.  It  is,  with- 
out doubt,  a  letter  of  good  form,  well  cut  and 
cast,  but  how  much  better  or  any  way  better 
is  it  than  other  faces  of  Brevier  made  before  and 
after  this  was  introduced  ?  Of  the  many  critics 
of  typography  who  pronounce  swift  judgment  on 
new  faces,  how  many  are  there  who  could  point 
out  the  peculiarities  of  this  face  when  put  in 
contrast  with  other  faces  on  same  body  ?  Did  it 
ever  make  a  book  more  attractive  or  salable  ?  One 
square  inch  of  solid  composition  in  brevier  takes 
in  about  thirty -two  words  of  ordinary  matter;  in 

leaded  composition,  about  twenty -five  words,    fl  We  have  three  pairs  and  one  job  case  for 
roman,  one  pair  for  italic,  and  five  for  accents. 

8-point  B,  old  body 


Measurement  in  12-point  ems 
CAPITALS    ....     12 

SMALL  CAPITALS        .      .          O1^ 

Lower-case  .....        8^4. 
ITALIC  CAPITALS      12^ 

Italic  lower-case     ...     8 
12345678901234567890 


aaaaaaaeeeeeilim666bo6ouuuu9n 
AAAAM6  t7QNd 


Measurement  in  12-point  ems 
CAPITALS  .  .  .  .1313 

SMALL   CAPITALS        .      .1034 

Lower-case  ....  934 
ITALIC  CAPITALS  1412 
Italic  lower-case  ...  8^2 
1234567890 1234567890 


BOURGEOIS  C  of  Miller  &  Richard  is  on  a  body  that  is  in  steadily  declin- 
ing request.  It  appears  occasionally  in  the  weekly  newspapers  devoted 
to  literature  and  art,  but  rarely  in  new  books  of  12mo  form.  It  does  good  service 
in  12mo  and  16mo  editions  of  the  Bible  and 
hymn-books,  and  in  preventing  an  undue 
thickness  of  book  in  a  novel  that  threatens  to 
exceed  the  customary  limit.  Publishers  here 
and  abroad  have  reached  the  conclusion  that 
Bourgeois  or  9-point  has  too  small  a  face  for 
a  new  book  intended  to  be  attractive  and 
readable.  The  reprinted  novel  in  two  columns 
to  the  octavo  page  is  no  longer  desired  by  the  AAAAAAAElQ  AAAAAAAOU 
reader  or  provided  by  the  publisher.  When 
a  smaller  body  of  type  is  required  for  any 
other  purpose,  as  for  a  dictionary  or  encyclo- 
pedia, preference  is  always  given  to  a  type  that 
has  bolder  lines.  This  Bourgeois  C  face  is  of  pleasing  cut,  but  it  is  too  weak 
and  delicate  to  meet  the  taste  of  the  ordinary  reader.  The  old  demand  for 
books  in  small  types  with  leaves  of  4*6  inches  or  less  has  abated.  Readers  ask 
for  types  that  can  be  easily  read.  One  square  inch  of  bourgeois  or  9-point  of  solid 
composition  will  take  in  about  twenty-eight  words ;  if  leaded,  about  twenty-one  words. 
1F  We  have  three  pairs  of  cases  for  roman,  one  for  italic,  and  five  for  accents. 

9-point  C,  old  body 
149 


aaaaaaae'eeeeeilimooooooouuu 
=  x    -  -7-° 


The  Text  Types  of  the  <Z)e  Vinne  Press 


Measurement  in  12-pt.  ems 
CAPITALS     .     .   141s 

SMALL  CAPITALS       .     10 

Lower-case  .     .     .      9*2 
ITALIC  CAPS  .    16 
Italic    lower-case  .      9 
1234567890    12845678 
AlAAAAA     M6UNQ 


aeiotiunsgdby     ddeiounc 

Font  includes  all  regular 
accents 


M.  &E. 

D USING  the  early  part  of  the  eighteenth  century  printing  in  Scotland 
was  in  a  more  unsatisfactory  condition  than  in  England.     Scotland 
had  no  printer  and  no  type-founder  of  high  merit.    Types,  presses,  paper, 

and  workmen  were  imported  mainly  from 
Holland.  The  first  type-foundry  to  earn 
a  fair  reputation  beyond  the  Scotch  border 
was  that  of  Wilson  &  Baine,  which  began  at 
St.  Andrews  in  1740.  Alexander  Wilson, 
the  successor,  took  the  type-foundry  to  a 
village  near  Glasgow,  and  gradually  made  it 
one  of  the  best.  His  early  types  were  copies 
of  those  made  by  William  Caslon,  but  in 
later  years  his  letter  showed  that  he  had 
carefully  studied  the  models  of  Baskerville 
of  Birmingham.  Association  with  the  pro- 
fessors of  the  Glasgow  University  and  their 
famous  printers,  Kobert  and  Andrew  Foulis, 
increased  Wilson's  zeal  for  improvement,  fl  We  have  seven  pairs  of  cases 
for  roman,  one  for  italic,  three  for  accents,  and  one  for  astronomical  signs. 
10-point  No.  28,  old  body 

AT  the  beginning  of  the  nineteenth  century  Scotch  types  and 
-TlL  Scotch  printing  were  in  great  request.     English  authors  did 

not  hesitate  then  and  afterward  to  ex- 
press their  preference  for  the  cuts  of  type 
made  by  Wilson,  or  by  Miller  &  Richard, 
or  Phemister,  over  all  the  English  type- 
founders, Thome,  Fry,  Jackson,  and  Cot- 
trell.  Publishers  confidently  offered  to 
Scotch  printers  orders  for  the  making  of 
superior  books.  There  was  a  thorough- 
ness in  the  workmanship  of  all  Scotch 
books  that  commanded  general  respect. 
It  is  worthy  of  note  that  the  phrase 
Scotch-face  was  then  applied  to  a  new 
face  of  type  planned  by  Samuel  Nelson 
Dickinson  of  Boston.  €J  Four  pairs  of  cases 

for  roman,  one  pair  and  one  job  case  for  italic,  and  four  for  accents. 
ll-point  D,  old  body 

150 


Measurement  in  12-pt.  ems 
CAPITALS  .  .  1512 

SMALL  CAPITALS  .    11 

Lower-case  .  .  10^ 
ITALIC  CAPS  1534 
Italic  lower-case  9^ 
1234567890  18345678 


aae'eefoiiuunc,  adeeibuu 

AAAAA  111  66660 

Font  includes  all  regular 
accents 


The  Text  Types  of  the  foeVinne 


A.  T.  F.  CO.    No.  26 

THIN  lines  in  type  produce  feeble  printing.    The  imperfect  legibility  of  ordinary 
faces  of  roman  text  type  is  noticeable  in  smaller  sizes,  and  especially  in  faces 
of  Brilliant,  Pearl,  or  Diamond,  which  are  hard  to  read  and  print.    Too  much  ink 
makes  types  thick  and  muddy;  too  little  ink  makes  them  gray  and  indistinct.  When 
inked  with  discretion,  the  effect  of  presswork 
from  small  types  is  often  that  of  feebleness.     These 
small  types  show  little  of  the  stem  and  still  less  of  the 
serif  and  hair-line ;  they  have  not  surface  enough  to 
carry  a  good  body  of  ink.   To  remedy  this  fault,  Quan- 
tin,  an  eminent  publisher  of  Paris,  had  made  for  his 
miniature  editions  a  remodelled  roman  face  on  the 
antique  model,  in  which  all  the  lines  were  nearly  of 
uniform  thickness.    A  print  of  this  face  will  be  shown 
on  an  advanced  page  under  the  name  of  Louis  XV, 
Body  5. 

Readers  of  failing  eyesight  rightfully  ask  for  types 
that  are  plain  and  unequivocal— that  reveal  the  entire 
character  at  a  glance  and  are  not  discerned  with  dim- 
culty  by  body-marks  joined  to  hair-lines  and  serifs  that 
are  but  half  seen  or  not  seen  at  all.  The  Morris  and 

Jenson  styles  are  needlessly  bold  for  readers  of  excellent  eyesight,  but  they  are  attempts  at 
an  improvement  in  the  right  direction  and  will  never  go  out  of  fashion  entirely.  This  No.  26 
face  of  the  American  Type  Founders  Company  seems  to  combine  the  best  features  of  an  easily 
read  type.  <J  Of  this  font  we  have  two  pairs  of  cases  for  roman  and  one  job  case  for  italic. 

6-point 


!  Measurement  in  12-pt.  ems 
CAPITALS 11 

SMALL  CAPITALS       .      .      .          g2^ 

Lower-case g 

ITALIC  CAPITALS      .    11 
Italic  lower-case     ...       7^3 
1234567890  1234567890 


A  A  A AAEEEO OUgft 

aaaaaaaae'eeeef  Iii66666uuuucfi 


WEAK  types  make  weak  presswork.  Book  critics  have  rightfully 
complained  of  a  deficiency  of  blackness  of  ink  in  recent  books. 
In  much  of  this  objectionable  presswork  the  fault  is  due  more  to  weak 
types  than  to  weak  ink.  Under  the  conditions  that  control  ordinary 
presswork  it  is  not  possible  to  show  vivid  blackness  on  thin  lines  that 
will  not  hold  the  needed  ink.  When  thin-faced  letter  is  leaded  and  is 
surrounded  by  an  excess  of  white,  the  thin  lines  must  seem  compara- 
tively gray.  Excess  of  ink  will  not  always 
give  the  desired  blackness. 

Durable  features  are  shown  in  this  No. 
26  face  of  broad  form,  which  is  designed 
for  hard  usage  on  newspaper  work.  The 
hair-lines  are  unusually  thick,  the  serifs  are 
properly  bracketed  to  stems,  and  will  suc- 
cessfully resist  the  wear  of  the  moulding- 
brush,  the  lye-brush,  and  the  proof-planer. 
It  will  take  ink  readily  and  make  a  read- 
able print  without  undue  impression. 

Students  and  book  and  newspaper  printers 
are  fully  agreed  as  to  the  worthlessness  of 

the  sharp  hair-line.  Hair-lines  should  have  a  visible  thickness  even  in 
small  sizes,  for  this  increased  thickness  is  really  needed  as  much  to  give 
legibility  as  to  prevent  wear,  fl  Of  this  font  we  have  two  pairs  of  cases  for 
roman  and  one  job  case  for  italic. 

8-point 

151 


Measurement  in  12-pt.  ems 
CAPITALS  ...    14 

SMALL  CAPITALS      .     11 

Lower-case   ...    10 
ITALIC  CAPS  .     .    131s 
Italic  lower-case     .      9 
1234567890  1234567890 

AAAAEON  AAAAAEEOU 

aaaaa£e§eeffiiI66&66uuuu 


The  Text  Types  of  the  <De  Vinne  Press 


A.  T.  F.  CO.  No.  313 
HIS  FOURTEEN-POINT  was  se- 
lected for  the  minor  matter  of  the 
great  Jade  book  (leaf  19  x  24  ins.) 
of  HEBER  BISHOP.  It  is  a  Scotch 
face  of  the  nineteenth  century,  and 
seemed  a  proper  mate  for  the  Great-primer 
selected  for  the  text  of  that  work  and  also  for 
the  folio  edition  of  the  Book  of  Common  Prayer. 
These  faces  were  probably  designed  by  the  same 
artist.  During  the  past  seventy  years  many 

new  styles  of  roman  type 
have  been  introduced. 
They  have  had  their  day 
of  favor,  but  they  do  not 
now  supplant  older  styles 
of  merit.  The  Caslon  face 
of  1732,  the  1828  face, 
this  Scotch  face,  and  the 
Scotch -roman  are  exam- 
ples. After  a  careful  sur- 
vey of  all  the  styles,  discerning  critics  say  that 
the  old  forms  have  not  been  surpassed.  Every 
large  printing-house  has  condemned  as  out  of 
fashion  and  out  of  use  fonts  of  type  that  were 
in  excellent  condition,  and  has  put  in  their 
places  other  styles  of  inferior  merit;  but  it  is 
not  proved  that  the  new  is  always  better  than 
the  old.  fl  Of  this  font  we  have  two  pairs  of  cases 
for  roman  and  one  job  case  for  italic. 

14-point 

152 


Measurement  in  12-point  ems 

CAPITALS     .  2034 

SMALL   CAPITALS  1423 

Lower-case  .  1423 
ITALIC  CAPS  2013 
Italic  lower-case  1223 
1234567890 

113.13.5.7.13.1 

4248888336 


The  Text  Types  of  the  *De  Vinne  '•Press 
BRUCE.    No.  11 

T1IVE-POI.NT,  or  PEARL,  is  a  small  size  that  finds  but  little  employment  in  ordinary  book  work.    It  is  some- 

I  1 1  times  selected  for  the  side-notes  and  foot-notes  of  small  pages,  but  rarely  ever,  and  seldom  wisely,  for  quoted 
mi    lines  of  poetry  or  similar  extracts  that  may  be  inserted  in  the  middle  of  the  text.    It  has  to  be  used  occasion- 

I 1  ally  with  larger  type,  when  it  is  selected  for  the  words  that  more  fully  explain  a  large  illustration  and  that  could 
I      not  be  set  in  a  type  of  larger  letter.    When  books  are  to  be  of  very  small  size,  with  leaves  about  two  inches  wide 

•••     by  three  inches  long,  a  5-point  body  does  good  service;  but  the  demand  for  books  in  minute  tyj/o  is  not  large. 
They  are  bought  as  typographic  curiosities;  few  book-buyers  have  the  eye- 
sight that  enables  them  to  take  pleasure  in  reading  microscopic  letters.  Measurement  in  12-pt.  ems 

Manufacturers  find  5-poiut  type  a  serviceable  letter  for  books  of  pocket 

sizes,  containing  tables  of  figures  that  give  a  fulness  and  exactness  of  descrip-         CAPITALS 9 

tion  which  cannot  be  trusted  to  memory.  CAPITAL  fllx 

Many  years  ago  the  New  Orleans  "  Picayune"  refused  to  enlarge  its  sheet  for 

the  steady  increase  of  advertisements,  which  it  ordered  set  in  Pearl  type.         Lower-case 6 

The  change  was  not  a  profitable  experiment.    Experience  showed  that  Pearl         ITALIC  CAPITALS     .    .     8 

type,  difficult  to  print  with  clearness  on  good  book  paper,  was  much  more         italic  lo  ^  3/1 

troublesome  on  ordinary  news  paper.    The  shallow  counters  of  the  small  type 

soon  filled  up  with  ink  and  made  muddy  presswork.    Figures  and  fractions         1234567890    \%\%\%\\$% 

on  en  body  were  illegible.     Advertisers  and  readers  complained  that  the 

printed  advertisements  were  hard  to  read.    Another  discouraging  result  was  the  exceeding  frailty  of  the  letter  ; 

although  the  new  face  of  Pearl  cost  much  more  than  its  approximate  larger  size  of  Agate,  it  wore  out  too  soon  and 

had  to  be  condemned  when  it  had  received  relatively  few  impressions. 

One  square  inch  of  pearl,  in  solid  composition,  takes  in  about  sixty-nine  words;  in  leaded  matter,  about  fifty  words.  \  Qf 
this  No.  U  face  we  have  three  pairs  of  cases  for  roman  and  three  job  cases  for  italic.  Figures  are  on  en  and  %-em 
bodies.  Fractions  are  on  em  body.  This  font  has  no  accents. 

5-point,  old  body 


pj  EVEN-POINT,  or  MINION,  is  a  neglected  size.  It  is  too  large  for  ordinary  news- 
V  paper  work,  either  in  news  or  advertisements,  and  too  small  for  the  text  of  the  ordi- 
i  A  nary  book,  yet  it  has  to  be  kept  in  stock  in  every  large  printing-house,  where  it 
U  finds  useful  employment  in  foot-notes,  extracts,  or  the  index  matter  that  supple- 
ments a  text  type  of  larger  size.  French  printers  make  frequent  use  of  it  in  gazetteers, 
encyclopedias,  and  thick  books  of  reference. 

Minion  is  still  a  term  of  endearment  for  pets  and  children.  Early  printers  and 
type-founders  applied  it  to  this  size  when  it  was  the  smallest  size  of  type  manufactured. 

Do  not  confound  Minion  with  Minionette,  which  last-named  word  was  used  by  a 
Philadelphia  type-foundry  of  the  last  century  to  describe 

a  new  body  for  combination  borders — a  size  between  Measurement  in  12-pt. 
minion  and  nonpareil,  which  size  was  the  body  6  of  the  CAPITALS  12 

French  point  system.  SMALL  CAPITALS  [       9 

The  English  unit  for  measuring  composed  matter  is  Lower-case ...  8^ 
the  en-quadrat.  The  number  of  ens  in  the  line  to  be  ITALIC  CAPS .  1234 
measured  is  multiplied  by  the  number  of  solid  lines.  The  Italic  lower-case  .  7^ 
unit  is  different,  but  the  method  of  measurement  is  the  1234567890  V4  ^34  lh  %  %  % 
same  as  that  of  the  United  States.  One  thousand  ens  AAAAElOUN  AAAAEldti 
English  equal  five  hundred  ems  American.  aaaa6eeeilii66666uuuiicn 

In  the  French  method  the  space  taken  by  the  twenty-  At:l()'UC>Ndadab"'ioilc'n 
four  letters  of  their  alphabet  is  computed  as  twenty-four 

letters.  The  number  of  letters  is  determined  by  filling  the  line  to  be  measured  with 
repetitions  of  the  alphabet,  and  counting  the  letters  that  can  be  put  in  the  stick.  The 
number  of  letters  so  ascertained  in  one  line  is  multiplied  by  the  number  of  solid  lines 
in  the  matter  composed. 

One  square  inch  of  7-point  or  minion,  solid  composition,  takes  in  about  thirty-eight 
words ;  of  leaded  matter,  about  twenty-seven  words.  <J  We  have  six  pairs  of  cases 
for  roman,  one  job  case  for  italic,  and  two  for  accents. 

This  1 '-point  face  has  superior  figures  and  ordinary  accents. 

7-point,  old  body 

153 


The  Text  Types  of  the  <DeVinne  •Press 
BRUCE.     No.  11 

PA  CE  occupied  by  type.  One  pound  of  metal  type,  as  packed  by  type-founders,  covers 
about  three  and  six-tenths  square  inches.  To  find  the  weight  of  one  page  in  high 
spaces,  divide  its  number  of  square  inches  by  the  figures  3.6.  To  find  the  weight  of 
a  font  to  compose  a  given  number  of  pages,  provision  must  be  made  for  a  surplusage. 

The  proportion  of  this  surplus  is  variable.    For  a  small  font,  the  type-founder's  rule  is  to  add 

one  half  to  the  computed  weight  of  the  composed  types. 

A  surplus  is  needed.    For  a  font  of  two  thousand  pounds 

Measurement  in  12-pt.  ems      or  more' this  8urPlus  need  not  be  relatively  as  «""»-  and 
addition  of  one  fourth  to  the  weight  of  the  composed  inat- 

CAPITALS      ..••     10  ter  may  be  enough.     All  calculations  of  this  kind  are  but 

SMALL  CAPITALS      .    .       8^2       guesses.    No  printer  or  type-founder  can  exactly  foresee 

Lower-case 7~2       how  unequally  copy  yet  to  be  written  will  exhaust  sorts. 

ITALIC  CAPITALS .     ll^  How  weights  of  fonts  are  calculated.    For  all  work  that 

Italic  lower-case    ...        /  jjas  to  be  done  in  haste,  for  newspapers  and  magazines  that 

1234567890  iJJJiiiil  have  to  keep  in  type  postponed  articles  or  alternated  adver- 
gNCNaaaMeeeeiiri66666uuuuc.n  tisements,  a  font  of  twice  the  weight  of  the  composed 
Q$  ddddaeieeili'i  60600  uuuucn  matter  will  not  be  enough. 

A  large  and  well-sorted  font  is  always  economical  as  to 

service.  It  enables  a  master  printer  to  complete  work  quickly  without  delays  or  stoppages 
for  sorts.  It  wears  better.  One  font  of  one  thousand  pounds  will  give  more  service  than  two 
fonts  of  five  hundred  pounds  bought  and  used  successively. 

When  a  font  of  a  new  type  has  been  put  in  case,  it  should  be  set  up  until  one  sort  is  exhausted. 
If  after  composition  there  be  left  in  case  a  large  surplus,  a  list  of  the  characters  most  needed 
should  be  ordered  from  the  foundry  to  make  the  assortment  even.  Hut  after  a  repeated  resorting 
of  the  cases  it  will  always  be  found  that  a  large  s\irplus  is  unavoidably  left.  <|  Of  this  font  we 
have  five  pairs  of  cases  for  roman  and  one  for  italic. 

G-point 


aracters  are  deficient  in  italic.    A  full  font  of  roman  text  type,  as  sold  by  the  founder, 
always  has  italic,  which  should  be  of  the  same  style  as  the  roman,  but  the  scheme  for  italic 
does  not  give  so  many  characters  as  for  roman.    Small  capitals  for  italic  are  made  only  to 
order.    Figures,  fractions,  reference-marks,  and  some  of  the  points  of  the  roman  serve  for 
such  series.    Italic  figures  are  furnished  to  some  fonts  by  some  foundries. 

All  the  characters  specified  in  a  scheme  are  furnished  by  the  larger  foundries  with  every  entire 

font  of  roman  from  Agate  to  Pica.    In  English  and  sizes  above,  many  of  the  minor  sorts  and  all  the 

accents  are  omitted.    For  sizes  above  Great-primer,  small  capitals  are  uncommon.     Brilliant  has 

no  small  capitals,  or  fractions,  or  accents,  and  few  of  the 

minor  sorts.    Although  it  may  be  rated  as  complete,  the  small 

Measurement  in  l--pt.  ems        scheme  for  roman  has  no  accents  for  roman  capitals  or  small 

Q3          capitals,  and  none  for  italic  capitals,  but  these  accented  letters 

CAPITALS     .....        »  4        may  be  obtained  in  small  quantities  of  one  or  two  ounces  to 

SMALL  CAPITALS  ....        7^        each  character  on  order. 

Lower-case  ......        7  Accents  are  not  always  provided.    The  scheme  includes  all 

ITALIC  CAPITALS  .    .     10  the  characters  needed  for  ordinary  work,  but  for  foreign  lan- 

oT.         guages,  or  for  scientific  books,  other  characters  are  needed. 

All  educational  works  require  a  large  list  of  long  and  short 

0    iiiillttl        vowels  ;    dictionaries,   a  large  number  of  diacritical  marks, 
most  of  which  have  to  be  designed  and  cut  to  order  ;  and  Portu- 

guese, Danish,  and  other  languages  have  peculiar  marks  which  must  also  be  made  to  order.  As  a 
general  rule,  even  the  ordinary  accents  are  to  be  had  only  for  the  book  types  made  by  larger  foundries. 
The  number  of  characters  in  a  full  scheme  of  book  type  is  253,  but  if  characters  were  required  for 
the  accents  of  all  foreign  languages,  for  the  signs  and  marks  used  in  dictionaries,  and  for  book* 
about  mathematics,  chemistry,  bibliography,  astronomy,  etc.,  the  number  might  exceed  five  hun- 
dred. No  type-founder  pretends  to  keep  characters  of  limited  use  for  every  font  ;  probably  no  printer  has  a 
complete  assortment  of  all  accents  and  signs  for  any  font.  \  Three  pairs  of  cases  for  roman  and  one  job  cast 
for  italic. 


154 


The  Text  Types  of  the  <De  Vinne  'Press 
BRUCE.    No.  11 


PROPOSALS  FOR  THE  PRINTING  of  a  large  Bible,  by  William 
Bradford,  January  14,  1688.  These  are  to  give  Notice,  that  it  is 
proposed  for  a  large  house-Bible  to  be  Printed  by  way  of  Subscriptions 
(a  method  usual  in  England  for  the  printing  of  large  Volumns,  because 
Printing  is  very  chargeable).  Therefore  to  all  that  are  willing  to  forward 
so  good  a  Work,  as  the  Printing  of  the  holy 
Bible,  are  offered  these  Proposals,  viz. : 

1  It  shall  be  printed  in  a  fair  Character 
on  good  Paper,  and  well  bound. 

2  It  shall  contain  the  Old  and  New  Testa- 
ment, with  the  Apocraphy,  and  all  to  have 
useful  Marginal  Notes. 

3  It  shall  be  allowed  (to  them  that  sub- 
scribe) for  Twenty  Shillings  per  Bible :  (A 
Price  which  one  of  the  same  volumns  in 
England  would  cost). 

4  The  pay  shall  be  half  Silver  Money, 
and  half  Country  Produce  at  Money  price. 

One  half  down  now,  and  the  other  half  on       AAfilQdtfQN  dadetirugn 
the  delivery  of  the  Bibles. 

Of  Bourgeois  we  have  seven  pairs  of  cases  for  roman,  two  job  cases  for  italic, 
and  one  accent  case  ;  of  9-point  we  have  two  pairs  of  cases  for  roman  and  one 
for  italic. 

9-point 


Measurement  in  12-pt.  ems 
CAPITALS  ...  14 

SMALL  CAPITALS      .    10-% 

Lower-case  ...  9% 
ITALIC  CAPS  .  1412 
Italic  lower-case  .  .  8*2 
1234567890 

1234567890     i234567890 

AAElOOtJgN  AlMotrgN 
aaaaaeee"ei  iii6666uuuu  en 


5  Those  who  do  subscribe  for  six,  shall  have 
the  seventh  gratis,  and  have  them  delivered 
one  month  before  any  above  that  number  shall 
be  sold  to  others. 

6  To  those  which  do  not  subscribe,  the  said 
Bibles  will  not  be  allowed  under  26s.  a  piece. 

7  Those  who  are  minded  to  have  the  Com- 
mon-Prayer, shall  have  the  whole  bound  up 
for  22s.,   and    those    that    do    not    subscribe 
28s.  and  6d  per  Book. 

8  That  as  encouragement  is  given  by  Peoples 
subscribing  and  paying  down  one  half,  the 
said  Work  will  be  put  forward  with  what  Ex- 
pedition may  be. 

Of  Brevier  we  have  twenty-eight  pairs  of  cases 
for  roman,  eighteen  cases  for  italic,  and  eighteen 
for  accents,  etc. ;  of  8-point  we  have  five  pairs  of 
cases  for  roman,  two  for  italic,  and  three  for 
accents.  It  is  the  face  used  for  the  large  type  of 
the  Century  Dictionary,  with  many  signs  and 
accents. 

8-point 

155 


Measurement  in  12-pt.  ems 


CAPITALS     .     . 

.    12 

SMALL  CAPITALS  . 

.      9 

Lower-case      .    . 

814 

ITALIC  CAPS   . 

.    1234 

Italic  lower-case  . 

•       712 

1234567890     1234567890 
1234567890    1234567890 

%%h*%  imtm 


AAAAAC.N 


uuuuuuu  yyy  9c«d  ggnnnstz 


dddadddaaiewdaiii  yyflijyy  g% 

T  8ns  sine  ^t 

$  0  •  O  © 
$9  $U  i?# 


The  Text  Types  of  the  *De  Vinne  'Press 
BRUCE.   No.  11 

JEN-POINT,  or  LONG-PRIMER,  is  an  approved  size  for 
novels,  travels,  poetry,  and  the  literature  of  amusement. 
Not  unwisely,  French  publishers  regard  this  10-point 
size  as  the  smallest  that  can  be  used  with  satisfaction  to 
the  general  reader.  The  smaller  sizes  of  9-  or  8-point  may  be 
selected  with  advantage  in  encyclopedias,  gazetteers,  dictionaries, 
and  educational  work,  but  they  are  not  acceptable  to  the  lover  of 
light  reading  in  the  ordinary  12mo  or  16mo  book,  even  when  they 
have  been  widely  leaded.  The  sale  of  novels  diminished  with 
each  decrease  in  the  size  of  type.  This  belief  of  the  French  pub- 
lishers is  shared  by  every  English 

Measurement  in  12-point  ems  an(j  American  bookseller.  The  day 
CAPITALS  ....  16  of  the  paper-covered  novel  in  small 
SMALL  CAPITALS  .  .  .  12  type  is  over. 

Lower-case n         Following  the  teachings  of  Wil- 

ITALIC  CAPITALS  .  16  liam  Morris,  there  are  reformers  of 
Italic  lower-case  ...  10  printing  who  claim  that  types  are 
1234567890  :Bf|f§  iiallg?  more  readable  when  close -spaced, 
1234567890  ty  n\  3  f  p  without  leads  between  lines.  This 
AAAAAEEEE111I66661J  compacted  treatment  does  not  im- 
tTtrtfgN  AAAA^Mftli666  prove  the  No.  11  series  of  type.  It 
tffruft<^aaae'ee<eilu666uuuc.n  is  readable  solid,  but  more  readable 
AAAA  tititifl  till  6060  when  leaded. 

dddadd'dteee  One  square  inch  of  this  size,  set 
solid>  takes  in  about  twenty-one 
words ;  leaded,  about  sixteen  words. 
In  estimates  for  the  space  to  be  covered  by  composition,  allow- 
ance must  be  made  for  the  style  of  the  writer:  the  Latinized  style 
of  long  words  needs  more  space,  the  colloquial  style  less  space. 

Of  Long-primer  we  have  fifteen  pairs  of  cases  for  roman,  three 
job  cases  for  italic,  and  one  case  for  accents ;  of  10-point  we  have 
thirteen  pairs  for  roman,  two  pairs  and  one  job  case  for  italic,  and 
two  cases  for  accents,  which  contain  the  usual  assortment  for 
roman  and  italic.  The  ordinary  forms  of  reference-marks  have 
been  supplanted  by  superior  figures.  Types  for  this  10-point 
No.  11  face  have  been  properly  nicked  for  service  on  the  type-setting 
and  distributing  machines.  Matrices  of  same  style  will  be  found  on 
the  Mergenthaler  machine. 

10-point 

156 


The  Text  Types  of  the  *De  eOinne  'Press 
BKUCE.     No.  11 


LEVEN-POINT,  or  SMALL-PICA,  is  the 
size  for  serious  books  to  be  spread  over 
many  pages.  For  the  history  of  many  vol- 
umes 12-  or  14-point  has  more  favor.  Pub- 
lishers and  authors  assume  that  a  treatise 
in  large  type  is  more  acceptable  to  the  stu- 
dent or  reader.  It  is  a  mistake  to  select  a 
petty  type  that  makes  reading  troublesome.  Types  of  small 
size  may  be  chosen  for  their  beauty  or  appropriateness  to  the 
subject-matter,  and  news- 
papers, Bibles,  prayer-  and 
hymn-books  must  be  printed 
in  small  type  for  the  sake  of 
economy  as  well  as  for  the 
convenience  of  the  reader. 
Large  types  and  large  leaves 
are  in  as  much  request  now 
as  they  were  a  century  ago. 
There  is  warrant  for  the  be- 
lief that  in  the  future  a  series 
of  big  books  will  be  regarded 
as  absolutely  necessary  to 
a  well-appointed  bookcase. 
But  the  increased  sizes  of 
books  call  for  corresponding  largeness  in  paper  and  plates, 
and  for  greater  cost  in  printing  and  binding. 

Of  Small-pica  we  have  sixteen  pairs  of  cases  for  roman, 
one  pair  and  one  job  case  for  italic,  and  two  accent  cases; 
of  11-point  we  have  five  pairs  of  cases  for  roman,  two  pairs 
for  italic,  and  two  accent  cases.  This  size,  in  addition  to 
the  usual  accents,  is  provided  with  several  peculiar  signs 
for  reference-marks,  and  also  has  a  few  strange  forms  of 
alphabetical  letters,  made  for  some  educational  treatise.  <J  One 
square  inch,  set  solid,  takes  in  about  seventeen  words;  leaded, 
about  fourteen  words. 

11-point 


Measurement  in  12-point  ems 

CAPITALS    ....  1734 

SMALL  CAPITALS     .      .      .1212 

Lower-case      ....  12 
ITALIC  CAPITALS  is^ 

Italic  lower-case  .    .    .11 
1  0Q4.p;«7cqn    113321    123456? 

_L4O4rOO  I  OiJU      424833      1234567 

AAAEEEliOOOUUUgN 

AAA  EEEfilOOdtjtllJgN 

a  a  a  a  ee  6  e  iiii  oooouuuiigii 


dadaaaaeeeege 
Hi  'ill  6666  tio  duuuuu'uc.n 


157 


The  Text  Types  of  the  <De  Vinne 


BKUCE.    No.  11 

HE  series  shown  on  this  page  in 
size  of  12-point  is  from  the  Bruce 
Type  Foundry,  and  was  designed 
by  the  late  August  E.  Woerner  of 
New  York,  who  died  July  27, 1896. 
No  series  of  modern  type  has 
proved  more  acceptable  for  gen- 
eral book  and  job  work.  Although  not  made  blacker 
or  overbold  with  thick  lines,  it  has  remarkable  legi- 
bility. In  clearness  it  is  not  surpassed  by  the  best 
faces  of  the  Old-style,  but,  unlike  that  letter,  it  has 

no  mannerisms  of  unnecessary 
quaintness. 

Its  letters  are  close -fitted. 
Each  character  fills  its  body  as 
fully  as  its  design  permits, 
but  all  the  characters  connect 
neatly  with  one  another  in 
every  possible  combination  of 
IMtfcS  AMofrcS  letters'  Uniformity  of  style  is 
aaAaaee6eiiii66uu§n  maintained  throughout  to  a 
APffi 77/w ' -  '* - '  -  remarkable  degree.  When  set 

^LJl/J.\s  LJ \sJLi  ClCl(~lOUCn  i  •  -\  •  ,   •  rt    i          j  T 

solid  it  is  a  graceful  and  read- 
able letter,  but  leading  gives  it  an  improved  appear- 
ance of  lightness  and  delicacy.  The  general  effect  of 
print  in  this  type  is  that  of  sustained  symmetry.  The 
eye  picks  out  no  letter  for  unevenness  or  other  fault. 

Of  Pica  we  have  one  pair  of  cases  for  roman,  one  job 
case  for  italic,  and  one  accent  case;  of  12-point  we  have 
five  pairs  of  cases  for  roman  and  one  job  case  for  italic. 

One  square  inch  of  this  size,  when  leaded,  takes  in 
about  eleven  ivords;  solid,  about  thirteen  words. 

12-point 


Measurement  in  12-point  ems 

CAPITALS  .  .2012 

SMALL  CAPITALS  14^ 

Lower-case .  .  .1334 
ITALIC  CAPS  21 
Italic  lower-case  12^ 
123456789  34567890 


158 


The  Text  Types  of  the  <De  Vinne  'Press 
BRUCE.    No.  19 

kMALL  CAPITALS  are  often  unsatisfactory.  A  word  in 
small  capitals  should  be  more  prominent  than  one  in  italic ; 
but  as  now  made  they  are  thin,  weak,  and  make  no  show. 
Some  publishers  prohibit  their  use  in  the  text,  preferring  to 
make  distinction  with  the  lighter  faces  of  antique  or  clarendon. 

This  weakness  comes  from 

planning    small   capitals    of        Measurement  in  12-point  ems 
the  same  height  as  the  round     CAPITALS.     .     .     .   I5i2 
letters  of  a  small  lower-case.     In  this     SMALL  CAPITALS     .     .   ni^ 
reduced  height  it  is  not  possible  to      Lower-case     .     .     .     .10 
draw  small  capitals   of  a  becoming     ITALIC  CAPITALS  IB1^ 
prominence  without  widening  the  let-     Italic  lower-case  ...     9*4 
ters  to  a  degree  which   makes  them      1234567890 
bad   mates   for   the   larger   capitals. 

A  ready  remedy  is  to  plan  them  taller  and  give  them  more  breadth. 
Some  French  type-founders  now  make  small  capitals  of  greater  height 
and  width ;  others  put  them  on  a  wider  set,  so  that  they  seem  to  be 
hair-spaced.  For  the  small  capitals  of  most  of  our  fonts  hair-spacing 
will  usually  be  found  an  improvement  that  gives  increased  clearness 
and  distinction. 

Small  capitals  were  once  an  approved  style  for  the  running  titles  of 
books,  but  they  should  not  be  selected  for  a  running  title  of  few  words. 
Small  capitals  of  12-  or  14-point  are  distinct,  but  sizes  smaller  than 
10-point  will  prove  unsatisfactory  in  this  exposed  position.  At  the 
head  of  the  page  they  receive  too  much  wear  under  impression  and 
their  shallow  counters  are  soon  choked  with  ink. 

Small  capitals  are  rarely  used  now  to  indicate  emphatic  words. 
The  rule  that  forbids  a  too  frequent  use  of  italics  is  equally  severe  on 
small  capitals.  They  are  much  too  weak  for  side-headings  of  dic- 
tionaries and  catalogues.  The  lighter  faces  of  antique  and  title-letter 
are  now  preferred. 

For  the  subheadings  under  chapters  one  line  of  small  capitals  is 
acceptable,  two  lines  may  be  tolerated,  three  lines  are  offensive.  Plain 
lower-case  of  small  size  is  a  better  choice.  As  usually  made,  small 
capitals  are  more  difficult  to  cut  than  capitals  or  lower-case,  and  this 
tempts  founders  to  make  one  set  of  small  capitals  serve  for  two  or  more 
distinct  faces.  An  inexpert  can  seldom  detect  the  mismating.  fl  We 
have  two  pairs  of  cases  for  roman  and  one  job  case  for  italic. 

10-point,  old  body 
159 


The  Text  Types  of  the  <Z)e  Vinne 
LINDSAY 

MODERATELY  compressed  face  is  needed 
for  a  narrow  page  as  is  a  round  or  broad  face 
for  a  quarto.  The  reader  who  loves  order 
and  symmetry  in  print  is  annoyed  when 
he  notes  in  a  page  of  poetry  lines  of  words  that 
evenly  fill  the  measure  while  following  lines  (and 
often  there  are  many  of  them)  have  only  the  overrun 
of  one  short  word  or  syllable  not  to  be  placed  within 
the  upper  line.  The  short  lines  have  to  be  followed  by 
great  gaps  of  white  that  give  a  general  raggedness  and 
an  unworkmanlike  appearance  to  the  entire  composi- 
tion. This  mangling  of  the  cadence  or  harmony  in- 
tended by  the  poet  is  un- 

Mea8urementinl2-pointem8  avoidable   when    a   letter   Of 

CAPITALS  .  .  20^  broad  face  has  been  selected 
SMALL  CAPITALS  ie  for  use  in  a  narrow  measure. 
Lower-case  .  .  13i4  Equally  unpleasing  is  the 
rrArrrr>Af>«  appearance  of  a  broad  type 

11AL1(-  of  large  size  on  a  narrow 

Italic  lower-case  1234  page.  To  avoid  the  faulty 
1234567890  division  of  words  (for  in  the 

widest  measure  words  must 

occasionally  be  divided),  the  compositor  may  have  to 
thin-space  the  words  in  one  line  and  put  em-quads  or 
more  between  the  words  of  the  next  line.  Types  are 
inflexible ;  they  cannot  be  squeezed  or  stretched  out. 

As  we  have  large  types  for  folios  and  small  types  for 
newspaper  advertisements,  there  should  be  a  similar 
adaptability  in  the  construction  of  the  types  intended 
for  poetry  and  narrow  measures.  This  tall  and  stately 
form  of  letter  is  as  admirable  when  properly  selected 
as  any  other  in  this  book.  *J  Four  pairs  of  cases  for 
roman,  one  job  case  for  italic^  and  one  accent  case. 

14-point  No.  19,  old  body.     Bruce 

160 


The  Text  Types  of  the  <De  Vinne  '•Press 

LINDSAY 

YPE-FOUNDERS  grade  types  one  point 
apart  from  6-  to  12 -point.  The  point  is 
.0138,  about  one  seventy-second  of  an 
inch.  Skipping  hut  one  point,  founders  next  ad- 
vance to  14-point;  again,  skipping  three  points, 
they  go  on  to  18-point.  The  intermediate  size 
of  16 -point  is  seldom  made  of  a  face  acceptable 
for  a  modern  hook.  Ordinary  18-points  are  too 
coarse  for  a  neat  hook ;  their  types  are  wide  and 
make  uneven  spacing  between  words. 

To  provide  a  large  type,  of  approved  face  and 
free  from  this  defect,  the 

-p.     TT.  -p.  ITT  Measurement  in  12-point  ems 

De  V  inne  r  ress  had  made  „  ,  ^rm  A  T  a 

4?  i  CAPITALS    .  .  21 

for  its  exclusive  use  this 

T  •    i         /.  1  ~       •    ,  SMALL  CAPITALS  17 

Lindsay  lace  on  lo -point  T 

11        T,  •  •     11       Lower-case 

body.     It  was  originally 

designed  for  the  smaUer 
body  of  14-point  by  the 
late  James  Lindsay  of  1234567890 

,       -P.  m  -p.  ,  Small  capitals  unusually  tall 

the  Bruce  lype  X  oundry, 

as  a  combination  of  approved  features  in  the 
French-face  and  the  Scotch-face  that  unite  neat- 
ness of  form  with  great  clearness  and  compact- 
ness. This  16-point  will  take  in  about  one 
hundred  and  twenty-five  words  solid  to  the  ordi- 
nary duodecimo  page,  yet  it  will  not  produce  the 
unduly  stretched- out  effect  that  is  noticeable  in 
over- leaded  composition,  fl  We  have  four  pairs  of 
cases  for  roman  and  three  job  cases  for  italic. 

16-point  Eoman  Scotch-face.     Bruce 

161 


The  Text  Types  of  the  *De  Vinne  "Press 


No.  1828 

4  NOTICEABLE  peculiarity  of  the  1828  face  on 
J~\-  10-  and  12-point  bodies  is  its  remarkable  boldness. 

It  is  a  more  readable  letter  than 
the  lighter  faces  that  were  ap- 
proved by  publishers  between 
the  years  1840  and  1890.  It 
has  the  thicker  stem  and  the 
flat  lower-case  t  of  the  Scotch- 
roman,  which  seems  to  have 
served  as  the  pattern.  The 
critical  reviewers  of  the  last 
century  who  advised  its  dis- 
charfe  as  an  out-of-date  style 
would  be  astonished  if  they 
could  read  recent  praises  of  its  beauty  and  superiority. 
<I  Of  this  font  we  have  seven  pairs  and  one  job  case  for 
roman,  two  job  cases  for  italic,  and  one  accent  case. 

12-point.     A.  T.  F.  Co. 


Measurement  in  12-point  ems 

CAPITALS   .     .  20 

SMALL  CAPITALS      1412 

Lower-case  .  .  1223 
ITALIC  CAPS  2112 
Italic  lower-case  .  1213 
1234567890 

daaaeeee  ii  i666ouuuu9n 
ddadeeeei  I  wooouuuugn 


16 


11 

16 

923 


rilHIS  face,  the  work  of  an  early  American  punch-cutter  of 
J_  ability  (possibly  Edwin  Starr),  was  put  out  of  use  in  1828,  for 

during  that  year  it  was  consigned  to 
a  type-founder's  vault  as  if  for  burial. 
There  is  now  no  known  reason  for  this 
neglect.  It  is  a  letter  of  good  design, 
a  real  improvement  on  a  style  pre- 
viously introduced  by  type-founders 
of  London.  Types  of  inferior  design 
were  kept  in  fashion  there  and  here  for 
many  years  afterward.  After  a  burial 
of  about  seventy  years,  some  lover  of 
Americana  had  it  taken  out  of  the  vault 
and  fitted  to  a  mould  on  the  point 
system.  It  was  accepted  by  the  readers 
of  the  Shenandoah  edition  of  Stockton's  novels  as  a  type  of  remarkable 
merit.  <I  Of  this  font  we  have  five  pairs  and  one  job  case  for  rowan, 
one  pair  for  italic,  and  one  accent  case. 

10-point.     A.  T.  F.  Co. 

162 


Measurement  in  12-pt.  ems 
CAPITALS    .     . 

SMALL  CAPITALS 

Lower-case  .  . 
ITALIC  CAPS  . 
Italic  lower-case  . 
1234567890 


aaaaeeeeiiiioodouuu  cfi 


The  Text  Types  of  the  'DeVinne  Press 
BRUCE  No.  12 


~C<IVE-AND-A-HALF-POINT,  or  Agate  (the  half  of  ll-point,  or  small-pica,  in  vertical  meas- 
-T  nrement),  may  seem  to  the  Inexpert  an  exceedingly  small  reduction  of  body,  not  worth  the 
cost  of  new  engraving.  It  finds  its  greatest  service  in  the  advertising  columns  ol  newspapers, 
and  it  may  be  considered  as  the  limit  of  minuteness  in  that 
service.  It  is  known  among  English  type-founders  as 
"  Ruby."  This  reduction  in  size  has  been  accompanied  by 
a  serious  change  in  the  shape  of  its  letters.  The  small  letters 
of  the  lower-case  are  relatively  much  broader  than  those  of 
larger  sizes.  Ascending  strokes  like  b  and  d  are  shorter, 
and  descending  strokes  like  p  and  q  are  very  much  shorter. 
The  widening  of  the  small  letters  has  enabled  the  punch- 
cutter  to  put  more  white  in  the  centre  of  each  character 
and  to  give  more  width  to  the  thick  stroke.  This  treatment 
has  made  the  faces  almost  as  readable  as  the  larger  sizes  of 
6-point.  For  this  reason  it  was  selected  by  the  late  firm  of 
McKillop,  Sprague  &  Co.  for  their  voluminous  Commercial 
Register.  One  square  inch  of  this  face,  in  solid  composition, 
takes  in  about  55  words ;  of  leaded  matter,  about  44  words. 

II  Of  this  font  toe  have  two  pairs  of  eases  for  roman,  two  for  italic,  and  one  for  accents.  It  Jias 
superiors  for  marks  of  reference,  also  two  sets  of  figures — one  set  on  en  body  and  the  other  on 
two-third  em  body.  Fractions  are  on  em  body. 


Measurement  in  12-pt.  ems 
CAPITALS 11 

SMALL  CAPITALS      ...         8*4 

Lower-case 7-^2 

ITALIC  CAPITALS  .     11 
Italic  lower-case   ...       7*2 
1234567890    1234567890 
1234567890    fc  %  \  %  %  %  %  %  % 

AN6M  aaaaaeeeeilii6d66uuuiic 


5^  point,  old  body 


Measurement  in  12-pt.  ems 
CAPITALS     .    ...    1114 

SMALL  CAPITALS       .      .          Ql^ 

Lower-case    ....       814 
ITALIC  CAPITALS.    11 
Italic  lower-case .    .    .       7*2 
1234567890  %%%%%%%%% 
AAAA AEEEE 1 1 6oOtftTCN 


SIX-POINT,  or  Nonpareil,  is  the  most  used  of  the  small  sizes.  It  seems  to  have  been 
made  for  the  first  time  in  U90,  by  John  Froben  of  Basle,  who  designed  it  for  an 
octavo  edition  of  the  Bible  in  Black-letter.  It  first  appeared  with  a  roman  face  in  a 
beautiful  manual  of  the  services  of  the  Roman  Catholic  Church  that  was  printed  at 
Venice  in  1501.  Its  first  name,  Nonpareil  (unequalled), 
has  been  preserved  unaltered  in  all  type-mating  coun- 
tries, and  it  was  regarded  as  a  marvel  of  skill  in  min- 
ute letter-cutting. 

Six-point,  which  is  one  half  of  12-point,  or  its  older 
equivalent,  in  a  vertical  lineal  measurement,  is  really 
only  one  fourth  of  that  body.  One  square  inch  con- 
tains in  solid  composition  about  forty-seven  words ;  of 
leaded  composition,  about  thirty-four  words. 

This  No.  12  face  of  6-point  has  thicker  lines  than  the 
No.  11  face,  with  the  Intent  to  make  blacker  print  and 
give  more  readability  to  the  letter.  For  this  reason  it 
is  selected  for  the  text  type  of  dictionaries,  gazetteers, 
and  voluminous  works  of  all  kinds  that  are  made  to 

give  the  boldest  amount  of  readable  matter  in  a  very  small  amount  of  space.  Con- 
trast this  6-point  No.  12  with  the  6-point  No.  22  of  Miller  &  Richard  on  another  page 
and  note  the  superior  boldness  of  this  face.  Its  lower-case  alphabet  is  about  thirteen 
per  cent,  wider,  and  it  is  this  widening  that  increases  its  legibility,  as  well  as  its  dur- 
ability under  impression.  The  design  and  the  engraving  of  this  face,  by  the  late  A.  E. 
Woerner,  show  unusual  merit.  No.  12  is  readily  moulded  in  the  electrotype  foundry  and 
gives  satisfactory  impressions  on  ordinary  news  paper.  H  Of  this  font  we  have  six  pairs  of 
cases  for  roman,  one  for  italic,  and  one  for  accents.  Superiors  and  accents. 

6-point,  old  body 


aaaaae"eeeilti666o5uuuucn 

AAAA£M£ttli6(>6trtrg8 

dadae'eeiliidddouuuuc.n 


The  Text  Types  of  the  2)e  Vinne  'Press 
BRUCE  No.  13 

FOURTEEN-POINT  BODY  of  this  face 
was  selected  by  a  judicious  buyer  for  a 
new  edition  of  the  BIBLE  recently  printed  by 
the  De  Vinne  Press.  Types  from  many  houses 
were  critically  compared,  and  this  No.  13  face 
preferred  as  combining  all  the  more  desirable 
qualities.  It  shows  graceful  shapes  in  all  of 
its  characters,  and  a  skill  in  the  combination  of 
unlike  forms  that  has  rarely  been  equalled.  The 

demands  of  readers  for 

Measurement  in  12-point  ems  j^.^  and  readable  types 

CAPITALS  .  .  23  are  increasing,  and  are 
SMALL,  CAPITALS  1714  more  urgent  now  than 
Lower-case  .  .  is  ever>  The  doubie-col- 
ITALIC  CAPS  2313  tunned  octavos  in  non- 
Italic  lower-case  1413  pareil  or  in  minion  are 
1234567890  neglected.  The  greater 
1234567890  cheapness  of  white  pa- 
per has  encouraged  this 

preference,  but  a  proper  care  for  waning  eye- 
sight should  be  a  more  important  reason.  The 
books  that  can  be  read  with  comfort,  and  that 
have  received  highest  approval  of  librarians 
and  collectors,  are  always  in  a  large  type,  and 
some  of  the  sizes  can  be  used  with  advantage 
for  the  ordinary  octavo  page,  fl  Of  this  font  we 
have  thirteen  pairs  and  two  job  cases  for  roman 
and  one  for  italic.  No  accents. 

14-point 

164 


The  Text  Types  of  the  Tie  Vinne  <Press 
BRUCE  No.  13 

!OLD-  FACED  LETTER 

of  modern  cut  is  not  yet 

Ollt    OI    laSniOn.  At         Measurementinl2-pt.ems 

is  seldom  selected 


ft          1  TIT  Italic  capitals   .     .     33*2 

lor  large  books,  but  ^1°™-™**  21^ 
it  is  effective  in  advertisements. 
THE  ITALIC  of  this  size  is  a 
readable  letter.  §  One  case  for 
roman  and  one  case  for  italic. 


22-point,  old  body 


CAPITALS  OF  THIS  13  SEEIES 
can  be  used  in  Title-pages  with  pro- 
priety as  mates  for  the  105  Series  of  Two- 
line  letter,  or   with   the 

-TT    -IP  j-ji  TJ_  •  J*        Measurement  in  12-pt.  ems 

Half-title.   It  is  a  type  of     capitals  ....  25 
great  grace,  is  neatly  cut,     ^L^?  !     ie% 
and  makes  useful  plates,     italic  capitals       2534 

Italic  lower-case    .     1514 

This  font  has  the  ordinary 
accents,  and  figures  and  fractions  on  the 
en  body.    <J  OF  THIS  FONT  we  have  one 
pair  of  cases  for  roman;  one  case  for  italic. 

16-point,  old  body 
165 


The  Text  Types  of  the  <De  Vinne  "Press 
BRUCE  No.  13 


USEFUL  TYPE 


in  Capital  Letters 


for  a  bold  title-page 


upon  the  large  leaf. 


ITALIC  is  plain. 


Capitals    .     .     .     59%  Italic  capitals     . 

Lower-case    .     .     37%  Italic  lower-case     35% 

No  small  capitals  No  accents 

One  pair  of  cases  ;  italic  in  half  of  upper  case 
36-point,  old  body. 


IERVICEABLE  in 

Display  Line  of  Ad- 
vertisements or  in  other 
work  to  be  read  quickly. 
Has  readable  ITALIC 


Capitals    .     .     .     44*2  Italic  capitals    . 

Lower-case    .     .     29*4  Italic  lower-case    29 

Two  pairs  of  cases ;  italic  in  half  of  tipper  case 
28-point,  old  body 

166 


The  Text  Types  of  the  ^DeVinne  '•Press 
BKUCE  No.  13 

CAPITALS 
DESIGNED 
FOR  WEAK 
EYESIGHT 
BOLDNESS 
OF  LETTER 
1234567890 


48-point,  old  body 
Capitals  78 

167 


The  Text  Types  of  the  <De  Vinne  'Press 
BRUCE    No.  16 

DAVID  BEUCE  (born  in  Scotland,  1770  ;  died  in  New  York,  1857;  was  the 
first  of  a  type-founding  family  which  has  done  much  for  the  improvement 
of  the  arts  of  stereotyping  and  type-making.     After  serving  an  apprenticeship  to 
printing  in  Edinburgh,  he  emigrated  to  New  York  in  1793,  where  he  followed  his 
trade  as  a  pressman.     In  partnership  with  his  younger  brother,  George  Bruce,  he 
began  business  in  New  York  as  a  master  printer  in  1806.   Rumors  having  reached 
them  of  the  advantages  of  the  new  art  of  stereotyping,  David  went  to  London  in 
1812,  and  ineffectually  tried  to  get  the  information 
he  desired  from  the  inventor,  Earl  Stanhope.    From 
other  persons  he  got,  as  he  thought,  enough  of  hints 
or  suggestions  to  warrant  him  beginning  the  work. 
On  his  return  to  New  York  he  added  stereotyping 
to  his  business,  in  which  he  made  a  marked  suc- 
cess.    Three  of  the  most  valuable  aids  to  stereo- 
typing are  his  unquestioned  inventions:  the  shav- 
ing  machine,   which    enables    the   stereotyper  to 

make  all  plates  of  even  thickness;  the  "patent-block"  of  hard  wood,  which 
firmly  holds  the  stereotype  plate  and  yet  allows  its  ready  release  or  change  to  any 
new  position;  the  dove-tailed  packing-box  with  sliding  cover,  which  secures  plates 
from  injury  and  aids  in  transportation.  In  1822  he  withdrew  from  business.  Q  Of 
this  font  we  have  two  and  a  half  pairs  and  one  job  case.  About  thirty-two  words, 
solid,  to  the  square  inch. 

8-point,  old  body 


Measurement  in  12-pt.  ems 
CAPITALS   .     .     .1212 

SMALL  CAPITALS      .     10 

Lower-case     .     .     .       81% 
1234567890 

No  mated  italic 


GEORGE  BRUCE  (born  in  Edinburgh,  1781 ;  died  in  New  York,  1866)  emigrated 
to  this  country  in  1795.    After  serving  apprenticeship  as  a  printer  in  Philadelphia 
and  working  as  a  compositor  in  New  York,  he  became  the  business  partner  of  his  brother 
David.    Their  new  enterprise  of  stereotyping  was  seriously  hindered  by  the  shapes  of 
the  types  they  had  to  use.    Types  as  then  made  had  no 
shoulders.     The  beard  or  neck  sloped  at  a  very  long 
angle  from  face  to  shank.    The  plaster  used  in  stereo- 
typing filled  these  sharp  angles,  from  which  it  was 
removed  with  difficulty.    Breakages  which  defaced  the 
mould  and  spoiled  the  cast  were  frequent.     After  many 
unsuccessful  efforts  to  induce  type-founders  to  make 
types  with  square  shoulders,  the  brothers  undertook  to 
make  types  for  themselves.    They  began  with  type- 
making  tools  unprofitably  used  by  the  brothers  Starr 
Their  first  specimen  book  is  dated  1815. 

George  Bruce  was  an  enthusiastic  and  indefatigable  punch-cutter,  who  found  his 
greatest  pleasure,  even  at  advanced  age,  in  cutting  letters,  many  of  which  are  ttill  approved 
as  models  of  good  form.  If  Of  this  font  we  have  two  pairs  of  cases  and  one  job  case  for 
roman,  also  one  job  case  for  italic.  About  twenty-seven  words,  leaded,  to  the  square  inch. 

7-point,  old  body 

168 


Measurement  in  12-pt.  ems 

.  .  12 

.  .  9 

.  .  8 

.  .  13 

7890 


CAPITALS      . 

SMALL  CAPITALS 

Lower-case  .     . 
ITALIC  CAPS 
Italic  lower-case 
123456 


The  Text  Types  of  the  <De  Vinne  '•Press 
BRUCE  No.  16 

/CORRECTION  of  the  construction  or  rhetoric  of  copy  before  it  is 
V_y  given  to  the  compositor  is  not  a  part  of  the  duty  of  the  master 
printer.  On  much  of  the  copy  sent  to  him  are  written  these  orders : 
"Follow  copy;  do  not  change  capitals,  italic,  punctuation,  or  con- 
struction." Experience  has  warned  him  that  it  is  hazardous  to  correct 
even  where  correction  seems  to  be  needed.  He  rightfully  assumes 
that  the  copy  of  a  new  book  is  the  work  of  a  person  who  has  prepared 
that  copy  properly.  His  estimate  of  the  cost  of  composition  is  based 
on  that  belief,  and  this  is  also  the  belief  and  practice  of  all  master 
printers.  This  estimate  includes  the  proviso  that  changes  subse- 
quently made  by  the  author  in  the  proof  must  be  regarded  as  altera- 
tions from  copy. 

There  are  authors  who  seldom  change  a  word  or  point  in  proof,  but 
there  are  others,  educated  and  competent  but  unsystematic,  who  pre- 
pare copy  negligently,  with  small  regard  for 

uniformity  in  the  use  of  capitals,  italic,  points,  Measurement  in  12-pt.  ems 
quote-marks,  etc.  To  follow  their  copy  ex-  CAPITALS  .  .  IS^ 
actly  would  be  to  the  joint  disgrace  of  all  Lower-case  .  .  9% 
concerned.  Copy  of  this  description,  too  often  1234567890  1  £  2 
written  and  printed  in  haste,  when  it  cannot  be 

revised  by  the  author,  should  be  corrected  by  some  one  appointed  J)y  Mm, 
before  it  is  put  in  type,  but  the  author  is  seldom  willing  to  do  or  to  have 
done  this  needed  work.  He  does  not  see  its  utility.  The  faults  that 
afterward  seem  so  glaring  in  print  may  not  be  seen  by  him  in  his  copy. 
Nothing  is  more  deceptive  than  the  written  expression  of  thought;  what 
seems  proper  in  manuscript  to-day,  will  seem  improper  in  type  to-morrow. 
There  are  few  writers  whose  faculties  are  always  in  such  exact  working 
order  that  they  never  change  the  words  first  written.  Changes  are 
needed  in  almost  every  manuscript,  but  they  are  more  economically 
made  in  a  type- written  copy  before  it  is  given  to  the  printer.  If  changes 
are  not  made  then,  they  must  be  made  in  the  proof  at  increased  expense. 

Some  copy  contains  the  statement  that  it  has  been  hastily  prepared, 
and  the  printer  is  asked  to  correct  negligences  before  it  is  put  in  type. 
This  extra  work  is  cheerfully  done  on  short  matter,  but  when  manu- 
script is  bulky,  requiring  hours  for  a  revision,  compliance  with  the  re- 
quest is  impossible.  When  compositors  are  directed  to  correct  copy 
in  the  processes  of  type-setting,  their  work  may  be  unsatisfactory 
to  the  author.  It  should  not  be  expected  that  two  or  more  men  can 
maintain  the  perfect  uniformity  of  style  that  is  desired. 

10-point,  old  body 

169 


The  Text  Types  of  the  cDe  Vinne  'Press 
BRUCE  No.  16 

The  Superiority  of  a 

COMELY  TYPE 

Is  Most  Apparent  in 
Its  Larger  Sizes 


Capitals,  5434.    Lower-case,  33 
36-point,  old  body.     One  case 


/~^REAT-PRIMER  is  seldom  asked  for 
VJT  in  books  smaller  than  cap  4to ;  few  let- 
ters can  be  put  in  each  line 

.  Measurement  in  12-pt.  ems 

and  even-spacing  is  made     Capitala  .  .  .  .  24 
difficult.  <IThis   font   has     smaii  capitals  .  .  2012 
small  capitals.    The  italic     Lo™-c-«  • 
offered  for  its  proper  mate 
is  too  thick.    It  takes  in  about  seven  words, 
set  solid,  to  the  square  inch.     This  font, 
being  rarely  called  for,  is  now  papered. 

18-point,  old  body.    Bruce 
170 


The  Text  Types  of  the  <De  Vinne  <Press 
BRUCE  No.  16 

A  Four -line 

CAPITAL 

ives  beauty 
to  a  generous 


Title- 


pa 


e 


1895 


No  italic 

Capitals  9014.    Lower-case  54 
48-point,  old  body 


171 


The  Text  Types  of  the  <De  Vinne  Press 
BEUCE  No.  16 

TYPES 

Pleasin 
In  Shape 

F«  -*~ 

i 


1234567 


No  italic 

Capitals  122*%.    Lower-case  7523 
72-point,  old  body 

172 


The  Text  Types  of  the  <De  Vinne 


FLAT 

SERIFS 

and  of 


Measurement  in  12-pt.  ems 
Capitals  .  .  .  103% 
Lower-case  .  .  71^ 


_MU 

Made  by 

Mr.  Riggs 

in  1854 


48-point,  old  body.     No  italic 

173 


Measurement  in  12-point  ems 

CAPITALS    ....  19 
Lower-case   ....  1412 
1234567890 


The  Text  Types  of  the  <De  Vinne  <Press 
LIGKET-FACE 

HERE  seems  to  "be  a  gradual  pass- 
ing away  of  tlie  recently  revived 
fashion  of  types  of  "black  face  and 
for  compact  composition  in  "book 
work  and  in  business  pamphlets 
and  circulars.  It  has  been  found 
by  discerning  buyers  of  printing  that  a  round 
and  clean  cut  of  type  of  a  light  face  and  of  un- 
obtrusive shape  is  not  so  fatiguing  to  the  eye 
as  the  more  pretentious  bold  faces.  The  light- 
face  is  certainly  much  more  attractive  to  the 

reader.  When  gener- 
ously relieved  by  neat 
spacing  between  words 
and  by  wide  leads  be- 
tween lines,  this  light- 
face  with  its  clear  outlines  is  much  more  read- 
able than  over-black  types  huddled  together  in 
a  gloomy  composition. 

Durability  is  one  of  its  merits.  Its  relatively 
wider  space  between  the  stems  of  each  letter 
is  not  so  quickly  choked  with  ink  when  these 
stems  have  been  somewhat  flattened  by  wear. 
It  is  a  serviceable  letter  for  electrotyped  adver- 
tisements that  will  get  hard  usage  under  press. 
Many  merchants  prefer  this  style  for  circular 
letters. 

Of  this  font  of  10-point  Light-face  we  have  six 
pairs  of  cases  and  one  job  case.  It  has  been  used 
with  the  best  results  in  the  printing  of  school- 
books  and  for  novels  of  few  words  that  have  to  be 
spread  out  to  fill  many  pages.  It  is  too  fat  a  letter 
for  poetry,  for  it  compels  the  turn-over  of  lines. 

10-point,  old  body.     Farmer 

174 


The  Text  Types  of  the  *De  Vinne  Press 
LIGHT-FACE 

^ROFESSIONAL  MEN,  and  even  men  of 
business  who  wish,  to  avoid  in  a  concise 
circular  the  selection  of  bold  type  that 
conveys  the  idea  of  advertising  ostenta- 
tion, and  are  also  equally  dissatisfied  with  the 
feebleness  and  fussiness  of  ordinary  typographic 
script  and  the  commonplaceness  of  the  common  faces  of 
roman  and  italic  letter  as  made  for  books,  find  in  this 
style  of  light-face  the  clearness  and  simplicity  that  they 
are  looking  for.  Print  from 

this  type  is  visibly  unlike  Measurement  in  12-point  ems 
that  of  the  usual  forms  of  CAPITALS  .  .16 
roman  and  italic.  Lower-case 12^ 

Like  all  broad -faced  and  1234567890 

open  types,  it  needs  for  its       aae'e'giodSutic.fi 
neat  presentation  a  proper 

background  of  white  relief.  If  it  is  set  solid  with  thin 
spaces  between  words  and  with  a  narrow  margin,  the 
effect  so  produced  will  be  disappointing.  For  the  ordi- 
nary page,  double-leading  is  the  treatment  advised. 

It  will  be  of  service  for  special  paragraphs  in  pamphlets 
that  require  frequent  change  of  type,  but  not  of  a  face 
that  overbears  the  needed  lines  of  display. 

What  has  been  written  on  the  previous  page  about  the 
durability  of  electrotypes  from  this  face  may  be  repeated. 
A  paragraph  set  up  in  ordinary  faces  of  6-  or  8-point  is 
liable  to  be  worn  and  made  almost  unreadable  when  it 
has  to  be  printed,  as  is  often  required,  in  a  hurry  and 
without  proper  make-ready  on  a  cylinder  machine.  An 
electrotype  plate  from  this  face  may  have  its  lines  thick- 
ened by  rough  treatment  under  press,  but  it  will  retain 
its  legibility  longer  than  it  would  if  cast  from  ordinary 
roman  text  type. 

Of  this  size  we  have  five  pairs  of  cases  and  one  job  case. 
There  is  no  italic  for  this  light-faced  series.  This  font 
has  only  a  few  accents,  but  it  has  very  clear  figures  that 
could  be  used  with  advantage  as  an  aid  to  other  fonts 
that  have  weak  figures. 

8-point,  old  body.    Farmer 

175 


The  Text  Types  of  the  <De  Vinne  Press 

LIGHT-FACE 

AS"    IMPORTANT    PART    of   this   font   of 
Pica  or  12-point   Light-face   consists   of 
its   accents  for  foreign  languages,  diacritical 
.   ,„  4          marks,  and  the  crossed  and 

Measurement  in  12-pt.  ems  .     .  ' 

/^ATDTrpATa     ^-,      coniomed  letters  made  tor 

0-a.x  IJ-jrL-Uo  .    21*4  ' 

T  educational  work.     In  a  cir- 

Lower-case  .1512 

1234-^67890    cu-^ar  letter  of  few  words  on 


intended   to    be    easily 
aa6giioo6ot)uu€n    read  .^out   show  of  dis- 


this  light-face  often 
proves  more  attractive  than  other  ordinary 
styles  of  roman  letter.  <[  We  have  two  pairs 
of  cases  and  one  accent  case. 

12-point,  old  body.     Farmer 

Useful  in  Advertisements 


DR.  JAVAL  upholds  type-founders  in  their  practice  of  giving  more 
width  to  the  small  letters  of  a  text  type  with  each  decrease  in  the 
height  or  body  of  the  type.     A  10-point  of  good  form  has  a  lower-case 
alphabet  of  13  of  its  own  ems,  but  a  6-point  of  the  same  face  must  have 
an  alphabet  of  16  ems.    If  greater  clearness  is  desired  the  letters  must 

be  made  still  wider,  as  is  done  in  this  font 

Measurement  in  12-pt.  ems      witn  a  lower-case  series  of  19*  ems  to  the 

alphabet.     The  wider  letter  calls  for  wider 

CAPITALS    ....    1234       spacing  between  words,  more  leads  between 
Lower-case    ....    10          lines,  and  generous  margin  around  the  page. 
1234567890  The  phasing  general  effect  of   this    light- 

faced   letter  is  spoiled  when  its  types  are 

set  solid  and  thin-spaced,  and  when  they  are  printed  on  a  leaf  with  a 
scamped  margin.  This  style  of  letter  is  too  wide  to  be  recommended 
for  poetry  of  long  lines  in  a  narrow  measure,  but  for  short  bits  of  prose 
composition  it  will  prove  of  good  service,  and  will  be  relished  by  the 
reader.  €j  Of  this  font  we  have  two  pairs  of  cases  and  one  job  case,  and 
two  job  cases  of  copper-faced  letter. 

6-point,  old  body.     Farmer 

176 


The  Text  Types  of  the  <De  Vinne  <Press 
LIGHT-FACE 

This  Graceful  Series  of  Type 

HAS   NO   SMALL  CAPITALS 

Italic,  or  Fractions,  but  it  is 

mucli  esteemed  by  those  who 

want  clearness  and  no  display. 

1234567890 

Capitals  32.     Lower-ease  22 

18-point,  old  body.     A.  T.  F.  Co. 

Of  this  font  we  have  two  pairs  of  cases 


Please  note  that  this  Type 
HAS  SLENDEB  SEBIFS 
that  are  easily  bruised  by 
rough  or  careless  handling. 
It  is  as  delicate  as  Script. 


Capitals  38.     Lower-case  25 
22-point,  old  body.     A.  T.  F.  Co. 

177 


The  Text  Types  of  the  <De  Vinne  'Press 
LIGHT -PACE 

Of  good  service 

IN  HALF-TITLES 

on  Full  Folio  Pages. 

Has  plain  figures. 

1234567890 


Capitals  4714-     Lower-case  35*3 
36-point,  old  body.     A.  T.  F.  Co. 


An  Approved  Type 

IN    SCHOOL-BOOKS 

For  Young  Children 

Needs  Abundant  Space. 

1234567890 


Capitals  4:3^4..    Lower-case 
28-point,  old  body.     A.  T.  F.  Co. 

178 


The  Text  Types  of  the  Qe  Vinne  'Press 
CASLON  OLD-STYLE 

EVERY  equipped  book-printing  house  of  the  middle  of  the  nineteenth  century  was  supposed  to 
have  two  faces  of  roman  letter  for  the  most  used  sizes  of  type.      There  was  a  bold  face  and  a 
light  face  —  perhaps  a  thin  or  a  condensed  face  —  but  no  face  showed  serious  departure  from  the 
standard  of  form  then  generally  observed.   A  difference  of  cut  in  a  new  style  did  not  much  change 
the  structural  form  of  the  letter.     Change  was  usually  prompted  by  intent  to  give  more  of  boldness  or  of 
lightness  to  the  print.     Not  all  of  the  new  forms  of  type  were  needed;  too  many  were  the  outcome  of 
caprice.     About  the  middle  of  the  last  century  the  trustee  of  a  New  England  printing-house  of  high  repu- 
tation, then  in  financial  difficulties,  reported  that  that  house  had 

seventeen  distinct  faces  of  Long-primer  roman.  It  is  difficult  now  Measurement  in  12-pt.  ems 
to  understand  what  need  there  ever  could  have  been  for  so  many 

faces  when  all  were  supposed  to  have  been  made  from  a  common         CAPITALS 10 

model  on  similar  lines  of  construction.     At  the  request  of  any         Lower-case     .  6^2 

publisher  who  admired  a  new  face  of  type  as  shown  in  a  type-  lZJ4.<678oo 

founder's  specimen  sheet,  the  proprietor  of  that  printing-house 

bought  a  font  of  the  desired  letter.     Neither  he  nor  the  publisher  No  italic 

seemed  to  foresee  that  the  appearance  of  this  new  face  must  be 

seriously  affected  by  changes  that  must  be  suffered  in  its  appearance  from  a  coarser  texture  of  the  paper 
selected,  in  the  quality  of  printing-ink,  or  in  varying  conditions  of  presswork.  This  want  of  foresight 
was  a  misfortune.  The  new  face  that  was  pleasing  on  hot-pressed  paper  in  a  carefully  supervised  type- 
founder's specimen  book  was  sure  to  present  an  inferior  impression  when  it  had  been  hurriedly  printed, 
as  was  customary,  on  paper  made  for  ordinary  news  or  cheap  book  work.  To  the  book-buyer  the  new  face 
was  not  always  an  improvement.  Many  preferred  old  types  as  more  distinct  and  readable. 

It  is  a  mistake  to  assume  that  a  new  face  entirely  different  from  any  other  must  make  a  new  book 
acceptable  and  more  salable.  Its  success  depends  more  on  the  choice  of  suitable  paper  and  the  aid  of  an 
expert  pressman  who  has  pride  in  good  work.  If  half  the  money  spent  during  the  last  century  on  the 
cutting  and  casting  of  new  styles  of  roman  letter  had  been  paid  for  a  superior  quality  of  paper  and  a  higher 
grade  of  presswork,  our  American  books  of  that  period  would  have  been  more  prized  by  readers,  even 
when  printed  from  old  types.  <J  Of  this  font  we  have  one  job  case. 

6-point  No.  15,  old  body.     A.  T.  F.  Co. 


OLD-STYLE  TYPE  was  practically  out  of  fashion  in  1800,  and  Charles  Whittingham 
(the  uncle)  seems  to  have  been  the  last  London  printer  to  abandon  its  use.  It  was 
soon  after  despised  by  publishers,  readers,  and  book  reviewers  as  an  angular,  old-fashioned  type, 
not  to  be  preferred,  as  was  vainly  tried,  to  the  rounder  forms  then  in  favor.  It  was  condemned  as 
entirely  unsuitable  for  any  book  of  merit  and  in  every  way  inferior  to  the  graceful  types  of 
France  and  Italy.  Connoisseurs  of  that  time  did  not  unite  on  any  style  of  letter  as  the  model 
of  good  form,  although  thick  and  thin,  black  and  light 

faces  were   then   produced   by  type-founders  in  profusion.       Measurement  in  12-pt. ems 
William  Pickering,  a  publisher  of  London,  unable  to  find       CAPITALS     .     .     .    1134 
from  his  printer  Charles  Whittingham  (the  nephew)  the       SMALL  CAPITALS     .      .        8 
type  that  he  desired  for  a  proposed  book  in  old  dress,  went       Lower-case  ....       7 
with  him,  about  the  year  1843,  to  tne  Caslon  type-foundry,       ITALIC  CAPITALS    12*2 
and  induced  the  proprietors  to  take  out  of  their  vault  the       Italic  lower-case  fl* 

Old-style  matrices  made  by  the  first  William  Caslon  about  I23456789o  1234567800 
the  year  1732.  The  face  selected  was  Great-primer  or  i  \  +  t,  ~  *  *  *  *  %  r  a 
i8-point ;  the  book  to  be  printed  was  "  So  much  of  the  *  V  w  *  <"  *-  *•  V  * 

DIAR  T  of  L AD Y  WILLOUGHBY  as  Relates  to  her  a  a  .aa  e  e  e  e  i  i  H  6  6  6  6  u  u  u  ii  9  fi 
Domeftic  Hijiory,  &  to  the  Eventful  Period  of  the  Reign  aaaaeeeeitii  6060  uuuufn 
of  CHARLES  the  Firft.  .  Imprinted  for  LONGMAN,  BROWN, 

GREEN  &  LONGMANS,  Paternofter  Row,  over  againft  Warwick  Lane,  in  the  City  of  London. 
1844."  The  font  so  cast  contained  the  long  f,  with  all  its  doublets,  and  every  other  peculiarity 
of  the  time.  Proper  names  and  their  synonyms  were  also  in  italic,  and  capitals  were  freely 
used  for  nouns  and  verbs.  In  this  book  of  1844  we  may  note  the  beginning  of  the  present 
profligate  use  of  italic  as  an  affectation  of  quaintness  in  places  where  it  is  not  needed.  Will  any 
one  explain  why  italic,  once  used  with  some  propriety  as  an  emphasizing  letter  for  words  of 
real  or  supposed  importance,  should  now  be  selected  for  trivial  particles  that  need  no  distinction  ? 
CJ  Of  this  font  -we  have  three  pain  and  one  job  case  for  roman,  two  job  cases  for  italic,  and  one 
accent  case. 

8-point  No.  71.     A.  T.  F.  Co. 

179 


The  Text  Types  of  the  *De  Vinne  "Press 
CASLON  OLD-STYLE 

CASLON  I  made  his  Old-style  type  in  series  from  pearl  to  six-line  pica,  and 
all  sizes  showed  mutual  relationship.  Sizes  from  great-primer  to  six-line 
pica  are  admirable  even  now  for  their  remarkable  legibility,  but  small  sizes,  from 
pica  to  nonpareil,  do  not  deserve  unqualified  commendation.  Minute  examination 
will  show  that  all  sizes  were  unwisely  cut  in  a  geometrical  proportion.  The 

reducing  instrument  that  we  now  call  the  pen- 
Measurement  in  12-point  ems  tagraph  was  unknown  to  Caslon,  but  he  must 
CAPITALS  .  .  .  IS2^  have  reduced  his  sizes  geometrically  by  the  aid 
SMALL  CAPITALS  .  .  10  of  reducing-glass.  His  types  of  nonpareil  are 
_  strictly  in  proportion  with  his  types  of  pica — 

^  the  alphabet  of  26  letters  in  each  size  (as  he  cast 

ITALIC  CAPITALS  .  12^  them)  contained  the  same  number  of  ems  of  its 
Italic  lonuer-case  .  .  8^%  own  body.  Type-founders  now  give  to  the 
1234567890  1234567890  smaller  sizes  a  wider  set,  but  a  Caslon  nonpareil 
A  Iv  t-t-r-iQ  CIA*  2}££vjC?  or  brevier  °f  modern  casting  is  still  a  lean  letter, 
AAEECN  AAEfeR  AALhCN  disliked  by  compositors  and  by  the  average  reader 
aaaaeeeeiHioooouuuu^n  of  prmt  as  condensed,  huddled,  somewhat  ob- 
a  a  a  a  e  e  e  e  i  iiiobdou  uuuf  n  scure,  and  a  strain  on  the  eyesight.  It  has  to  be 

used  by  book-printers  as  the  proper  letter  for 

foot-  and  side-notes  or  in  the  index  or  appendix  to  a  Caslon  text  of  larger  size,  but 
it  is  accepted  unwillingly  even  by  the  admirers  of  Old-style  letter.  Its  out-of-line 
arabic  figures  are  especially  objectionable  in  table  work,  for  they  interfere  with 
one  another  in  different  lines  of  composition.  <J  Of  this  font  ive  have  three  pairs 
of  cases  and  one  job  case  for  roman,  one  job  case  for  italic,  and  one  for  accents. 

9-point  No.  71.    A.  T.  F.  Co. 

THE  geometrical  reduction  of  type  so  that  each  size  shall  be  in  true 
proportion  with  other  sizes  is  contrary  to  the  teachings  of  optics  and 
to  the  practice  of  type-founding.     It  is  well  understood  by  all  type-founders 
that  each  size  of  letter  must  be  made  increasingly  wider  with  every  decrease 
in  its  height.      The  great-primer  of  the  "Diary  of  Lady  Willoughby"  is  a 

readable  letter,  but  the  nonpareil  and  brevier 
Measurement  in  12-pomt  ems  ,  ,  0  , 

made  by  Laslon  are  not  so  readable.      They 

CAPITALS    .      .  .    1434  seem  hucjdled  and  confused  in  composition, 

SMALL  CAPITALS     .  .10  not  from  ignorance  or  carelessness,  but  from  an 

Lower-case      .      .  .      9*4  unwise  adherence  to  geometrical  proportion. 

ITALIC  CAPS  .    1514  Here  it  may  be  remarked  that,  contrary 

Italic  lower-case   .  834      tor  the  ^"g5/,50™  mode™  reformers 

,  .  of  typography,  Pickering  and  Whittingham 

1234567890    1234567890      did  not  give  solid  Comp0sition  to  the  «Diarv 

AAAEEEUCN  AAAEEE  ofLady  Willoughby."  Its  lines  are  widely 
aaaaeeee' iiiioooouuuucn  leaded,  and  the  composition  was  made  more 
aaaaeeeeini6boouuuu$n  feada.ble  b7  this  leading.  Solid  composition 

is  at  its  best  when  the  type  selected   gives  a 

perceptible  lane  of  white  space  between  its  lines.  This  lo-point  was  used 
by  the  De  Vinne  Press  for  Messrs.  Crowell  t$  Co.'s  reprint  in  I2mo  form 
of  the  first  folio  of  Shakspere.  |J  Of  this  font  we  have  seven  pairs  and  two 
job  cases  for  roman,  two  job  cases  for  italic,  and  two  accent  cases. 

10-point  No.  71.     A.  T.  F.  Co. 
180 


The  Text  Types  of  the  1)e  Vinne  'Press 
CASLON  OLD-STYLE 

COMPOSITORS  serve  two  masters:  the  buyer  who  orders  the 
work  and  has  the  right  to  direct  its  style,  and  the  master 
printer,  who  is  responsible  to  that  buyer  and  to  the  reader  for  the 
workmanship  of  the  composition.  The  buyer  rightfully  expects  the 
compositor  to  correct  indefensible  negligences  in  his  written  copy, 
and  to  arrange  types  in  a  tasteful  manner.  The  master  also  re- 
quires the  compositor  to  produce  workmanship  in  good  taste. 

Here  comes  occasion  for  possible  disagreement.  Types  selected 
by  the  buyer  (or  even  by  the  master  printer)  may  be  composed  as 
directed  and  yet  not  produce  the  good  work  desired.  Types  are 
inflexible;  they  must  occupy  a  fixed  space,  and  they  may  not  mate 
tastefully  one  with  another.  The  arrangement  of  types  intended 
by  either  party  must  be  modified  to  some  extent  by  the  compositor. 

Good  taste  is  not  one  of  the  exact 

sciences.      It  has  few  absolute  rules.        Measurement  in  12-point  ems 
What  is  tasteful  in  one  composition      CAPITALS      .     .     .   1714 
is  not  in  another.     What  is  pleasing      SMALL  CAPITALS     .     .   H34 
to  the  author  may  not  be  pleasing  to      Lower-case  ....   10*3 
the  master  printer.    The  compositor's     ITALIC  CAPITALS     17 

notion  of  good  taste  may  differ,  and      T    ,.    , 

,    J  Italic  lower-case       .      .      QIO 

the  three  parties  may  be  at  complete 

variance.  1234567890     1234367890 

Good  taste  should  be  understood  as  AAEE^Naaaaeeeiiiioouucn 
a  synonym  for  propriety.  It  means  JME^aaaaeeeeTmoooouufn 
order,  symmetry,  and  the  observance 

of  seemly  arrangements  that  have  the  sanction  of  age  and  authority. 
In  type-setting  it  means  the  putting  of  right  types  in  right  places.  It 
does  not  mean  departure  from  methods  that  have  commanded  general 
respect.  Composition  is  but  the  architecture  of  words,  and  it  must 
be  governed  by  general  rules  of  law  and  order  that  are  observed  not 
only  in  architecture  but  in  every  kind  of  worthy  construction. 

Positive  directions  from  the  writer  of  the  copy  must  be  obeyed,  but 
when  the  compositor  has  a  free  hand  he  can  safely  disregard  popular 
fads  and  fashions  and  arrange  types  to  suit  the  intent  of  the  writer. 
He  will  not  try  to  improve  the  supposed  graces  of  a  new  style  of  type, 
or  to  add  to  the  eccentricities  of  a  designer  or  engraver,  or  even  to 
show  his  own  skill  as  an  original  combiner  of  odd  bits  of  typographic 
building  material.  He  will  try  to  keep  the  author  or  writer  at  the 
front  always.  If  he  does  the  work  by  easy  and  simple  methods,  it  is 
more  than  probable  his  composition  will  be  approved  as  in  good  taste. 
(][  Of  this  font  we  have  two  pairs  of  cases  for  roman,  one  job  case  for  italic, 
and  one  accent  case. 

11-point  No.  71.     A.  T.  F.  Co. 

181 


The  Text  Types  of  the  <De  Vinne  'Press 
CASLON  OLD-STYLE 

ENGLISH  PRINTERS  of  the  seventeenth  century 
bought  their  choice  types  from  founders  of  Holland, 
who  grudgingly  supplied  their  rivals  in  London  with  type- 
making  materials.  In  his  "Mechanick  Exercises"  of  1683, 
Moxon  commends  Van  Dijk  of  Amsterdam  as  a  prince  of 
letter  designers,  and  the  tracings  that  he  gives  of  Van  Dijk's 
model  letters  justify  the  praise.  The  best  English  books 
of  this  period  were  printed  from  types  that  had  been  cut 

in  Holland  or  cast  in  Eng- 

Measurement  in  12-point  ems  ,        ,     r  T^        i  •    ' 

„  .  T^rrr,  A  T  o  land    from    Dutch   matrices, 

CAPITALS 1912       r      IT     i     j   u  j 

tor  England  had  no  punch- 

SMALL  CAPITALS     ...    .13  °r 

T  cutter  or  merit  when  William 

Lower-case ii34 

ITALIC  CAPITALS  .i834       Caslon  be&an  as  *W*-*™°** 

Italic  lower-case    .  .  .  .n 

123456789  1234567890         England  did  have  its  share 

AAAAE££EIUCN  of  ^^  founders>  who  cast 
A  A  A  A  E  E  E  E  i  6  u  9  ff  obsolete  desisns  from  worn 

aaaa  eeee  iiii  6666  uuuii  9  ft  moulds  and  carelessly  fitted 
JJJJ££££I6VfN  matrices.  The  caFtals  of 
aaadeeeeiiiiobddiiuuu^n  fonts  of  ty Pe  then  offered  as 

new   may   have   been    cut   a 

century  before  by  one  punch-cutter,  the  lower-case  series 
(that  did  not  fairly  mate  with  the  capitals)  by  another,  while 
the  italic  was  the  product  of  a  third  incompetent.  Types 
so  constructed  made  sorry  show  in  print ;  they  were  unequal 
in  height  and  out  of  line.  The  University  Press  of  Oxford, 
England,  which  once  cast  all  its  types,  preserves  as  curiosi- 
ties many  fonts  of  types  of  differing  heights  to  paper. 

There  is  a  somewhat  similar  face  of  Pica,  known  as  No.  1 5, 
on  the  opposite  page,  which  shows  the  mixing  of  two  series. 
<|  Of  this  font  we  have  ten  pairs  of  cases  for  roman,  one  pair 
and  one  job  case  for  italic,  and  one  for  accents. 

12-point  No.  71.     A.  T.  F.  Co. 

182 


The  Text  Types  of  the  ^e  Vinne  'Press 

CASLON  OLD-STYLE 

CASLON  I  and  his  successors  had  to  make,  at  the 
request  of  fastidious  buyers,  changes  from  the  orig- 
inal design.  In  the  specimens  as  printed  by  Luckombe  in 
his  "  History  of  Printing  "  of  1776,  the  critical  reader  has  to 
note  a  No.  i  and  No.  2  face.  In  the  authorized  Caslon 
Specimen  Book  of  1796,  beautifully  printed  by  Charles 
Whittingham,  one  notes  also  a  No.  3  face,  and  others  de- 
scribed as  New.  It  is  plain  that  the  Caslon  Foundry  had 
been  persuaded  to  make  changes  in  the  earliest  forms. 
There  is  then  a  thin  and  angular  Caslon  style  in  fashion 
during  the  first  half  of  the 

eighteenth      century    and     a  Measurement  in  12-point  ems 

rounder    Caslon    style   pre-     CAPITALS 19 

ferred  at  the   close  of  that     SMALL  CAPITALS I2i3 

century,   but   each    style   is     Lower-case 11% 

from   the    Caslon   Foundry.     ITALIC  CAPITALS    .  1714 

The  word  Caslon,  as  applied     Italic  lower-case 1013 

to  a  distinct  face  of  type,  is          1234567890 
consequently  not  exactly  de-     AA AEfcEEOQN  AAE! oticS 
scriptive;   it  may  be  some-     aaaaee"  ee'iiiioooouuuun 
what  misleading.  44$  IQOU^N  aaeewougn 

Caslon's  faces  were  closely 

copied  by  Wilson  and  other  founders.  When  Old-style 
was  revived,  the  disused  matrices  were  reassembled,  but 
not  always  with  discretion.  The  type  of  this  page,  with 
capitals  too  thick  for  its  lower-case,  seems  to  be  the  work 
of  two  punch-cutters,  each  aiming  at  a  different  end.  This 
face  was  put  out  of  service  for  many  years  in  this  house, 
but  after  long  neglect  it  met  with  warm  approval  when 
used  for  the  printing  of  Scribner's  limited  edition  of  the 
writings  of  Rudyard  Kipling  in  many  volumes  of  octavo 
form.  <J  Of  this  font  we  have  eight  fairs  of  cases  for  roman, 
and  one  pair  and  a  job  case  for  italic. 

12-point  Old-style  No.  15.     A.  T.  F.  Co. 
183 


The  Text  Types  of  the  <De  Vinne  "Press 
CASLON  OLD-STYLE 

REVIVED  Old-style  had  to  face  dislike.  Some 
book  reviewers  denounced  it  as  a  relapse  to  the 
crudity  of  Puritan  printing;  others  hailed  it  as  a 
return  to  dignity  and  simplicity.  Much  could  be 
said  in  support  of  each  belief.  The  reading  public 
of  1850,  wearied  with  the  effeminacy  fostered  by 
engravers  and  type-founders  in  their  preference  for 
sharp  lines,  was  ready  for  masculine  strength. 

Unfortunately,  no  line  of  distinction  was  drawn 
between  the  strong  and  the  weak  features  of  the  Old- 
style.     Was  there  any  need 

Measurement  in  12-point  ems  •  r 

CAPITALS        .  2os4    f°r  the  P.r°/USe  PePPerlnS  °f 

matter  with  prepositions  and 

SMALL  CAPITALS.    1434 

T  articles  in  italic  ? 

Lower-case  .    .    .  13 

ITALIC   CAPS  2H4         Critics  who  admitted  its 

TJL   ,-   ,  good  features  said  Old-style 

Ltauc  lower-case   .  12 

^x   rL/i,r/i  n/m/r     had  defects.    The  lower-case 
123^56  ftmnikfliimii 

»-  %  ^  fs  C-T  a  e  s,  and,  indeed,  all  char- 

AAEECNAE5  .  .  , 

acters  that  had  a  central  cross- 
aaaaeeeiidouuucn  .  .  . 

stroke,    were    pinched    and 

feeble.  Capital  letters  were  not  in  proportion.  Arabic 
figures  seemed  absurdly  out  of  proportion  when  used 
in  a  line  of  capital  letters.  The  61  and  the  long  f  with 
its  doublets  had  been  out  of  use  for  about  fifty  years. 
This  face  was  used  for  the  reprint  of  Moxon's 
"  Mechanic k  Exercises"  ordered  by  the  TypothetceofNew 
Tork.  <J  Of  this  font  we  have  ten  pairs  of  cases  for  roman, 
two  for  italic,  and  one  accent  case.  Has  joined  letters. 

14-point  No.  71.     A.  T.  F.  Co. 

184 


The  Text  Types  of  the  ^he  Vinne  'Press 
CASLON  OLD-STYLE 

WILLIAM  CASLON  secured  the  legibility  of 
the  larger  sizes  of  his  Old-style  by  pro- 
viding a  generous  relief  of  white  space  be- 
tween lines  of  solid  composition.  His  faces 
were  not  too  large  for  their  bodies.  Round 
and  small  letters  like  o  and  e  are  in  the 
centre,  or  nearly  in  the  centre,  of  the  body. 
Descending  strokes  below  the  line,  as  in  g 
and  p,  are  of  about  the  same  length  as  as- 
cending strokes  in  d  and  b. 

.       1  r      1    •  o  •  Measurement  in  12-pt.  ems 

Capitals  or  this  i  o  -point 

Capitals 


are   apparently   but    little      smaii  capitals .  .  1534 

*  *  i  r  i  Lower-case  ...     16 

taller  than  those  or  a  mod-      italic  capitals .  .  26i4 

^       i  Italic  lower-case   .     15 

ern  i4-pomt  type.  Caslon 
saw  need  for  a  visible  lane  of  white  space 
between  meeting  lines  of  solid  letter,  for  in 
his  time  printers  made  sparing  use  of  leads. 
This  added  relief  of  white  between  the  lines 
prevented  the  use  of  leads.  Amateurs  in 
typography  who  now  prefer  types  set  solid 
overlook  the  greater  height  of  modern  round 
letters  that  almost  compels  the  use  of  leads. 
€J  Of  l8-point  we  have  two  pairs  of  cases  for 
roman  and  one  for  italic;  of  Great-primer 
No.  15  we  have  three  pairs  of  cases  for  roman. 

18-point  No.  71.    A.  T  F.  Co. 
185 


The  Text  Types  of  the  ^DeVinne  'Press 
CASLON  OLD-STYLE 

CASLON'S  LOWER-CASE 
round  letters  were  thin  in  width 
as  well  as  very  low  in  height.  A  letter 
upon  a  large  body  could  properly  be 
presented  on  a  relatively  small  page. 
Even-spacing  was  then  possible  with 
i8-point  on  the  small  octavo  that  is 

Measurementinl2-pt.ems         "OW  HOt  practicable  Ott 

capitals  ....  30%    the  modern  cut  of  that 

Small  capitals  .     .     21 

i^TpLs  :  :  329s4     size.     To  secure  even 

Italic  lower-case         17*  Qf 


like  style,  round  letters  are  now  cut  on 
a  lower  line,  which  makes  descenders 
very  short,  and  ascenders  and  capitals 
much  taller.  Experiments  in  a  lower 
placing  of  round  letters  on  the  body 
to  make  a  series  more  serviceable  for 
job  work  are  not  always  of  benefit  in 
book  work.  €|  Of  this  font  we  have 
two  pairs  of  cases  for  roman  and  one 
for  italic.  No  accents. 

22-point  Old-style  No.  71.    A.  T.  F.  Co. 
186 


Capitals  ....  3 6*2 

Small  capitals  .     .  2514 

Lower-case  .     .     .  2113 

Italic  capitals   .     .  3  6*4 

Italic  lower-case    .  20*2 


The  Text  Types  of  the  <DeVinne  <Press 
CASLON  OLD-STYLE 

TEGIBILITY  was  also  increased 
i_>  by  the  greater  protraction  of 
the  thick  stroke  of  each  letter  and 
by  the  increased  thickness  of  the 
hair-line,  which  was  made  shorter 
in  all  curved  lines  so  as  to  give 

mOre     length     tO     the         Measurementinl2-pt.ems 

longer  thick  stroke. 
The  too  sharp  hair- 
line is  the  result  of  unwise  efforts 
to  rival  in  type  the  delicate  work 
of  copperplate  printers,  which 
have  seriously  degraded  typog- 
raphy and  proved  an  annoyance 
to  readers  and  a  loss  to  printers. 
^Of this  font  we  have  two  fairs  of 
cases  for  roman,  and  one  job  case  and 
one  lower-case  for  italic.  This 
font  has  no  accents. 

24-point  Old-style  No.  71.     A.  T.  F.  Co. 
187 


Measurement  in  12-pt.  ems 

Capitals  ....  3914 

Small  capitals  .    .  27lg 

Lower-case  .    .    .  27 

Italic  capitals  .    .  43 

Italic  lower-case   .  2334 


The  Text  Types  of  the  'De  Vinne  'Press 
CASLON  OLD-STYLE 

CASLON  FACES  ARE  NOT 
QJLJAINT  ENOUGH  FOR  A 

TRUE  BIBLIOPHILE. 

He  says:  give  us 
the  prim  shapes 
of  older  German 

artists.  <I  One  pair  of  cases  for 
roman  and  one  case  for  italic. 

28-point  No.  15,  old  body.     A.  T.  F.  Co. 

HE  MAINTAINS  that  true 
teachings  as  to  Good 

Forms  in  type 
Stopped  with 

ALBERT  DURER. 


Measurement  in  12-pt.  ems 
Capitals   .     .     .     .     48^ 
Small  capitals  .     .     35 
Lower-case  .     .     .     34 
Italic  capitals   .     .     59 
Italic  lower-case    .     35^ 


36-point  No.  71.    A.  T.  F.  Co. 
188 


The  Text  Types  of  the  <DeVinne  Press 
CASLON  OLD-STYLE 

GOOD  FORM 

is  not  noticed 
in  many  Faces 
of  a  Small  Size. 

Roman :    Capitals  60,  lower-case  4023 

Italic:     Capitals  62,  lower-case  36 

One  pair  of  cases  for  roman  and  one  case  for  italic.    Italic  is  on  40-point  body 
42-point  No.  71.     A.  T.  F.  Co. 

OLD-STYLE 

receives  favor 
for  Lightness, 

not  for  Blackness. 

Roman :     Capitals  72%,  lower-case  45*2 

Italic:    Capitals  71,  lower-case  37 

One  case  for  roman  and  one  for  italic 

48-point  No.  15,  old  body.     Farmer 

189 


The  Text  Types  of  the  <De  Vinne  '•Press 
CASLON  OLD-STYLE 

MOXON 

Shows  us 


HIS  TRANSLATIONS  OF 


Van  Dijks 


ANTIQUATED 


Italic  & 
Roman 


Capitals  9723.    Lower-case  6414 
60-point  No.  15,  old  body.     A.  T.  P.  Co. 

190 


The  Text  Types  of  the  'DeVinne  <Press 
CASLON  OLD-STYLE 

Caslons 


DUTCH 
FACES 

of  1683 


Capitals  119.     Lower-case  77*3 
72-point  No.  15,  old  body.     A.  T.  F.  Co. 

191 


The  Text  Types  of  the  VeVinne  Press 
XV  CENTURY 

^THE  OLDEST  TYPES  are  not 
*  the  rudest.  Not  all  the  old  makers 

of  type  were  careless:   they  found  • 

excellent  models  of  lettering  in  old  in 

books,  and  they  knew  that  the  readers  _.. 

of  the*  own  time  would  iuut  on  fatf  »  HOt 

workmanship  in  printing.    Some  of  ^virlrlirP  nf 

the  types  of  the  early  printers  of  Italy  CV1UCI1LC   Ul 

and  France  are  justly  admired  by  type-  ' 

founders  and  bibliophiles  of  our  time.  d5C  Ul 

Capitals  1423.     Lower-case  9  Capitals  32^.     Lower-case 

10-point.     Barnhart  24-point.     Barnhart 


UNCOUTH  FACES 

of  type,  rare  in  the  i^th,  are 
made  in  the  igth  century. 

Capitals  4:5^.     Lower-case  26 
36-point.     Barnhart 

TYPES  first  made      BIBLIOGRAPHERS  say  that 
by  careless  workmen       ^  Gutenberg  Bible  of  1455  is 

*  -  -          the  model  of  a  well-printed  book. 

were    seldom    used       The  types  of  Jenson  in  M?2  Kave 
f      \        *    *        f 

for  the  printing  Ol   a          been  accepted  as  a  standard  form 

second  edition  of  the      °f  r.°"1"I_  Lett"s  d"i«°ttl  ^ 

1         f  Katdolt,  Kenner,  Uaramond,  and 

DOok,  and  mean  types          Tory  still  have  the  approval  of 

were  soon  destroyed.       the  exPcrts  in  type-making. 

Capitals  25.     Lower-case  1614  Capitals  1684.     Lower-case  10 

18-point.     Barnhart  12-point.    Barnhart 

192 


The  Text  Types  of  the  <De  Vinne  Press 

ARLINGTON 

ARLINGTON  is  another  form  of  invented  Old-style  made 
by  the  American  Type  Foundry  at  St.  Louis,  Mo.,  for 
more  show  in  advertisements.  Its  lower-case  is  taller  and 
bolder  than  a  similar  body  of  the  Fifteenth  Century  type 
and  it  is  more  condensed,  but  its  figures  are  made  to  line 
according  to  modern  usage.  It  is  attractive  in  an  adver- 
tisement, but  does  not  appear  to  advantage  when  mixed 
with  the  faces  of  approved  Old-style  upon  a  title-page. 

12-point  Arlington.     A.  T.  F.  Co. 
Capitals  lo^.     Lower-case 


No  era  shows  more 

COARSENESS 

in  design  and  in  cut. 


48-point  XV  Century.     B.  B.  &  S. 
Capitals  6212-     Lower-case  27*2 


DO  NOT  USE  these  rough  types  in  any 
work  that  calls  for  nicety.  Critics  of 
good  worK  do  not  like  a  line  or  a  para- 
graph in  types  that  suggest  advertising 
notions  and  that  make  a  discord  with 
symmetrical  letters  of  a  neater  form. 


18-point  Arlington.     A.  T.  F.  Co. 
Capitals  22%.     Lower-case 

193 


The  Text  Types  of  the  <DeVinne  Press 
PORTUGUESE  OLD-STYLE 

THIS  OLD-STYLE  FACE  was  cut  about  1804 
by  Joaquim  Carneiro  Silva,  who  was  then 
a  punch-cutter  attached  to  the  Measurement  in  12.point 
National  Printing  House  of  CAPITALS  201s 
Lisbon  Notice  the  confer-  Lower.case  142g 
mity  of  these  letters  to  the  No  italic  Few  accents 
fashions  of  good  form  then  NO  smaii  capitals 

•  i.  «  ^1   •  r  One  job  case 

prevailing  :    the    thinness    of 

the  E,  S,  and  F,  the  crossed  lines  of  the  W,  and 

the  unusual  width  given  to  some  round  letters. 

Body  14.     National  Printing  House,  Lisbon 

s  first  made,  the  S  was 
always  tall  &  thin,  with 
stiif  curves,  but  the  short 

Q  r\  O  T*X  /3k      s~\  T      O  Measurement  in  12-point  ems 

had   pref-  CAPITALS 

erence  for 


4012 


No  italic.     Few  accents 
in  No  small  capitals 

111""  One  job  case 


itial,  or  as  the  final  letter. 
Long  f  disused  after  1810. 

Body  28.     National  Printing  House,  Lisbon 

194 


The  Text  Types  of  the  *De  Vinne  Press 
MODERNIZED  OLD-STYLE.     No.  20 

The  Merits  of  Old-Style 


OLD -STYLE  TYPE  is  often  commended  for 
its  superior  legibility,  but  the  features  that 
give  to  it  this  claimed  legibility,  not  always 
clearly  understood,  may  need  an  explanation. 
In  the  old-style,  the  so-called  hair-line  is  short  and 
has  a  visible  width,  and  the  thick  stroke  has  more  ex- 
tension before  it  tapers  to  the  hair-line.  Each  character 
is  constructed  so  that  all  its  lines  can  be  seen  at  first 
glance.  In  modern  cuts  of  type  the  hair-line  is  long 
and  sharp,  tending  to  invisibility,  while  the  thick  stroke 
is  correspondingly  shortened.  In  the  old-style,  the 
serifs  at  the  end  of  the  thick  and  thin  strokes  are  short, 
stubby,  and  angular;  in  the  modern,  they  are  longer, 
lighter,  and  more  gracefully  curved  or  bracketed  to  the 
thick  stroke.  The  general  effect  of  old-style  is  that  of 
angularity.  Smooth  curves  and  graceful  tapers  are 
not  desired.  On  the  contrary,  the  general  effect  of 
a  modern  face  is  that  of  roundness,  precision,  and  sym. 
metry.  Each  character  of  a  properly  cut  modern  letter 
is  exact  and  carefully  finished  in  all  its  details;  but 
when  its  letters  are  seen  with  its  males  in  a  mass  of 
composed  types,  its  high  finish  does  not  seem  a  merit. 
A  letter  of  modern  cut  is  seldom  so  distinct  as  the  same 
letter  in  a  type  of  old-style  of  the  same  size. 

The  greater  distinctness  of  the  old-style  can  be 
proved  by  experiment.  Select  two  equally  well-printed 
pages  of  large  type  —  one  of  old-style  and  one  of 
modern  cut  of  the  same  size  and  about  the  same  thick- 
ness of  face.  Place  them  in  a  favorable  light;  then 


moving  away  from  these  contrasted  examples  note  how 
much  sooner  the  modern  types  become  indistinct. 

Yet  the  superior  legibility  of  the  old-style  will  be 
evident  only  in  i8-point  or  larger  sizes.  In  sizes  smaller 
than  i2-point  the  old-style  face  will  not  be  any  clearer ; 
the  8-  and  6- 

point  size  may   Measurement  in  12-pt.  ems 

not  be  so  dis- 
tinct as  8- and     _._,_...,  Q2o 

6-pointofmo-     CAPITALS 9^3 

dern  type.The     SMALL  CAPITALS      .    .    . 

diminished  le-     Lower-case 6  -^ 

gibility  of  the     ITALIC  CAPITALS      .  9 

smaller    sizes  r>-\ 

is  the  result  of     Italic  lower-case      .... 
a  wrong  prac- 
tice   of    early 


foug'dSh  ^ h6"  AAAAAA  ***£  fi"  06666  uuu  c  R 
made  "mailer  «*•*«*«•«««»•»•«»*««« 

types  in  ex-  AAAA^ik^Kf)}6d6dOl)£>l}Ufff 
actlythesame  d  a  d  a  it  1 1  Hit  6b  6S  *  it  A  u  f 
proportion  as 

they  made  the  larger  types.  The  modern  practice,  com- 
mended by  opticians,  is  to  give  increased  width  to  each 
letter  with  every  decrease  in  the  height  of  its  body. 
1f  Of  Pearl  -we  have  one  pair  of  cases  for  roman,  one 
jot  case  for  italic;  of  5-point  we  have  three  pairs  of 
cases  for  roman,  one  job  case  for  italic,  undone  case 
for  accents. 


5-point.     Bruce. 


The  Defects  of  Modern  Style 


THE  DESIGNERS  of  old  and  new  shapes 
of  roman  letter  did  their  work  on  differ- 
ent lines.    The  old  designer  gave  to  sup- 
posed needs  of  the  reader  of  large  type  his  first 
consideration.    He  would  make  types  graceful  if 
he  could,  but  he  thought  it  more  important  to 
make  them  distinct  in  all  the  combinations  of 
composition.  His  first  object  was  to  design  letters 
that  should  be  readable. 

The  designer  of  modern  type  thinks  it  his  first 
duty  to  make  each  letter  "artistic  "  or  of  grace- 
ful shape,  but  his  notion  of  grace  is  largely  me- 
chanical. He  thinks  of  each  letter  as  a  unit,  and 
not  of  many  letters  in  a  mass.  The  hair-line  must 
be  sharp  and  tend  to  invisibility  as  it  does  in 
copperplate  engraving  ;  the  curving  thick  stroke 
must  dwindle  to  its  hair-line  with  a  faultless 
taper;  the  slender  serif  must  be  neatly  brack- 
eted to  its  thick  stroke.  Every  line,  curve,  or 
angle  is  mechanically  correct,  but  the  general 
effect  of  letters  so  devised  when  they  have 
been  combined  in  a  composition  of  types  is  that 


of  overwrought  refinement.  To  use  the  paint- 
er's phrase,  the  letter  so  treated  is  "niggled" 
or  overdone.  Without  intending  to  do  so,  the 
designer  has  been  more  intent  on  showing  his  own 
skill  than  in  aiding  the  reader  of  print.  Letters 
that  appear 

symmetrical    Measurement  m  12-pt.  ems 

when  exam-  CAPITALS  ..... 

ined     singly  SMALL  CAPITALS     .     .     . 

do  not  surely  Lower-case 

seem  so  fine  ITALIC  CAPITALS 

and      pretty  italic  lower-case    ...        7 

when      com-  I23456789o    1 2345678(^0 

bined     in     a  i  x  X  V  Itffrf  Afrp  r  \  t  vjfMArV- a 

AAAAAl^ril  W  U  «y  AAAAKEIOUCN 

mass,     in     a     ,.. — ,, ... ,,»..,,....,,,..   _/>/.„,-, 
aaaaaeeeeiuiooooouuuucn  %'°^ 

umn. 

T[  Of  Nonpareil  we  have  five  pairs  of  cases  for 

roman,  two  job  cases  for  italic,  and  one  case  for 

accents;  ofb-point  we  have  ten  pairs  of  cases  for 

roman,  two  job  cases  for  italic,  and  one  case  for 

accents. 


6-point.     Bruce 

195 


The  Text  Types  of  the  <E>eVinne  'Press 
MODERNIZED  OLD-STYLE.    No.  20 

IT  DOES  NOT  FOLLOW  that  old-style  letter  is  the  perfection  of  design  or 
engraving.    Some  letters  are  too  thin,  as  in  the  lower-case  a,  e,  s;  others  again,  as 
o,  c,  d,  q,  like  the  rounder  letters  of  the  capitals,  are  disproportionately  wide.     In 
most  of  the  recently  made  variations  of  old-style  these  faults  have  been  corrected. 
The  great  defect  of  modern-cut  letter  is  the  length,  sharpness,  and  delicacy  of 
hair-line  and  serif.    When  hair-line  strokes  of  modern- 
cut  types  are  made  visibly  wider,  print  therefrom  is  to 
that  extent  made  more  readable.     Some  of  the  angular 
features  of  old-style  can  be  preserved  without  damage 
to  its  readability  and  effectiveness  in  the  composition. 
During  the  eighteenth  century  there  were  a  few  inex- 
pert type-founders  who  made  old-style  type  of  bad  pro- 
portions.   Searchers  after  novelty  who  have  accidentally 
encountered  these  types  in  old  books  have  had  them 
recut  in  type,  not  from  a  perception  of  real  merit,  but 
from  a  desire  to  put  before  the  modern  reader  letters  that 
were  supposed  to  have  the  charm  of  irregularity  added 
to  that  of  quaintness.    Admirers  of  the  old-style  charac-       dadada  feeeHlitl 
ter  are  misled  when  they  accept  the  mean  workmanship 
of  inexperts  as  models  of  good  form.   If  Of  Minion  we  have  eleven  pairs  of  cases  for  roman, 
one  pair  and  two  job  cases  for  italic,  and  two  cases  for  accents. 

7-point,  old  body.     Bruce 


Measurement  in  12-pt.  ems 
CAPITALS  .  .  .  1214 

SMALL  CAPITALS  .      .         9*2 

Lower-case  ....  7% 
ITALIC  CAPITALS  1213 
Italic  lower-case  ...  7*2 
i  2  3  4  5  6  7  8  9 o  12 345  6  7890 


aaaa£aae'eeei  m'666666iiuuu5n 


Measurement  in  12-pt.  ems 


8 
1314 


BODONI  of  Italy  was  the  first  notable  type-founder  who  broke  from  subser- 
vience to  the  rules  laid  down  by  Diirer  and  then  observed  by  type-makers 
of  all  countries.     The  models  of  Tory  of  Paris  and  of  Van  Dijk  of  Amster- 
dam (who  had  supplemented  Diirer's  teachings)  had  been  accepted  everywhere  as 
the  standards  of  good  form.     William  Caslon,  type-founder  of  London,  in  1735 
gave  increased  precision  to  these  old  forms,  but  he  fairly  preserved  the  old  model. 
Types  then  made  might  be  thick  or  thin,  bold  or  light, 
but  the  angularity  of  structural  lines  was  always  the 
same.    It  was  seldom  that  any  punch-cutter  attempted 
change.    As  far  back  as  1732,  Fleischman,  the  letter- 
engraver  for  the  Enschede"  Foundry  of  Holland,  gave 
more  roundness  to  the  round  letters  of  the  lower- 
case, but  his  teachings  found  no  imitative  pupil. 
Bodoni  of  Italy  was  more  successful.     He  increased 
the  roundness  suggested  by  Fleischman,  lengthened 
the   ascending  and   descending   strokes,   extended 
serifs,  put  more  white  space  between  the  lines,  and 
thereby  gave   improved   readability   to   his    types. 
Treading  closely  on  his  heels  in  the  path  of  reform 
came  Fransois-Ambroise  Didot  of  Paris.     The  new 
models  so  made  in  Italy  and  France  were  imitated 

or  altered  by  founders  abroad  as  well  as  here,  and  attempts  at  change  produced  a 
bewildering  variety  of  styles,  but  all  founders  avoided  angularity,  and  preferred 
round  forms  and  sharp  hair-lines.  H  Of  Brevier  we  have  twenty-five  pairs  of  cases 
for  roman,  four  job  cases  for  italic,  and  two  cases  for  accents;  of  S-point  ive  have 
fifteen  pairs  of  cases  for  roman,  two  job  cases  for  italic,  and  one  case  for  accents. 

8-point.     Bruce 

196 


CAPITALS   .     . 

SMALL  CAPITALS 

Lower-case     .     . 
ITALIC  CAPS 

Italic  lower-case  .  .  823 
1234567890  1234567890 
AEIOtfACNO  AAAAA£ICN 
aaaaa£  eee  11  i  1 66666  uuuu9n 
AE16  tJCNAOdddddetoouf 


A 


The  Text  Types  of  the  'De  Vinne  'Press 
MODERNIZED  OLD-STYLE.    No.  20 

LETTER  FROM  BENJAMIN  FRANKLIN  to  John  Basker- 
•ville  from  Craven  Street,  London,  dated  1760,  showing  the 
discernment  of  a  critic  of  typography. 


DEAR  SIR:  Let  me  give  you  a  pleasant  instance  of  the  prejudice  some 
have  entertained  against  your  work.  Soon  after  I  returned,  discoursing 
with  a  gentleman  concerning  the  artists  of  Birmingham,  he  said  you  would 
be  a  means  of  blinding  all  the  readers  of  the  nation,  for  the  strokes  of  your 
letters  being  too  thin  and  narrow,  hurt  the  eye,  and  he  could  never  read  a 
line  of  them  without  pain.  "I  thought,"  said  I,  "you  were  going  to  com- 
plain of  the  gloss  of  the  paper  some  object  to."  "No,  no,"  said  he,  "I 
have  heard  that  mentioned,  but  it  is  not  that;  it  is  the  form  and  cut  of  the 
letters  themselves;  they  have  not  that  height  and  thickness  of  the  stroke 
which  makes  the  common  printing  so  much  more  comfortable  to  the  eye." 
You  see  this  gentleman  was  a  connoisseur. 

In  vain  I  endeavored  to  support  your  char-  Measurement  in  12-point  ems 
acter  against  the  charge ;  he  knew  what  he  CAPITALS.  ...  14 
felt,  and  could  see  the  reason  of  it,  and  SMALL  CAPITALS  .  .  1134 
several  other  gentlemen  among  his  friends  Lower-case  ....  9*4 
had  made  the  same  observation,  etc.  Yes-  ITALIC  CAPITALS  14^ 
terday  he  called  to  visit  me,  when,  mis-  Italic  lower-case  .  .  9*2 
chievously  bent  to  try  his  judgment,  I  1234567890  1234567890 
stepped  into  my  closet,  tore  off  the  top  of  AAAAEEEEIIIOOOCUCN 
Mr.  Caslon's  specimen,  and  produced  it  to  AAAAAEEEEilii6666uut)ugN 
him  as  yours,  brought  with  me  from  Bir-  aaaaaeee  eiiiioooouuuucn 
mingham,  saying  I  had  been  examining  it  AAAAEEEElilOdUUC.N 
since  he  spoke  to  me,  and  could  not  for  dddddeeeeiiiiobooduiiuiifn 
my  life  perceive  the  disproportion  he  men- 
tioned, desiring  him  to  point  it  out  to  me.  He  readily  undertook  it,  and 
went  over  the  several  founts,  showing  me  everywhere  what  he  thought 
instances  of  that  disproportion;  and  declared,  that  he  could  not  then  read 
the  specimen,  without  feeling  very  strongly  the  pain  he  mentioned  to  me. 
I  spared  him  that  time  the  confusion  of  being  told  that  these  were  the  types 
he  had  been  reading  all  his  life,  with  so  much  ease  to  his  eyes ;  the  types 
his  adored  Newton  is  printed  with,  on  which  he  has  pored  not  a  little ;  nay, 
the  very  types  his  own  book  is  printed  with  (for  he  is  himself  an  author), 
and  yet  never  discovered  this  painful  disproportion  in  them,  till  he  thought 
they  were  yours.  I  am,  etc., 

B.  FRANKLIN. 

Of  y-point  we  have  ten  pairs  of  cases  and  one  job  case  for  roman,  two 
job  cases  for  italic,  and  two  cases  for  accents. 

9-point.     Bruce 

197 


The  Text  Types  of  the  <DeVinne  •Press 
MODEKNLZED  OLD-STYLE.    No.  20 

FOLLOW  COPY  is  the  lesson  taught  to  the  apprentice  who 
begins  to  set  type  from  a  reprint,  which  is  supposed  to  be  cor- 
rect, but  when  the  apprentice  is  qualified  to  set  type  from  manu- 
script, this  stringent  rule  has  to  be  relaxed.     He  is  then  told  that  there 
are  two  classes  of  writers  for  the  press — the  careful  and  the  careless. 
He  must  strictly  follow  the  copy  of  a  careful  author,  but  he  must  care- 
fully correct  in  his  type-setting  all  indefensible  faults  of  spelling,  gram- 
mar, punctuation,  or  any  other  violation  of  typographic  order  that 
may  be  made  by  the  hasty  or  careless  writer. 

Measurement  in  12-pt.  ems  At  this  point  ends  the  compositor's  duty  as 
CAPITALS  f1^  a  self-constituted  corrector.  With  the  right  or 

SMALL  CAPITALS  .'  11  wrong  of  statements  made  in  the  copy,  with 
T  g,  its  rhetoric  or  construction,  he  has  nothing 

to  do.     It  is  enough  for  him  to  do  what  he 
miJLiJLl*    C^f^o      loAj  ,  ,     .  , 

TA  ,.    .  has  been  told,  and  to  make  copy  orderly  and 

Italic  lower-case  .      9 

.,  0         readable  in  print.     The  proof-reader  may 
1 23456789 1234567800 

query  suspected  faults  on  the  author's  proof, 

»# H##  H #  >  and  the  author  may  afterward  make  changes 

AfclOtjgN AXfcioou9N     in  the  proof>  but  it  is  not  the  duty  of  the  com. 

aaaaaaaeee6Hi666uu5n      positor  or  even  of  the  proof-reader  to  edit. 
A£2OU£Ndadaaaei(n          Negligent  preparers  of  copy  rely  too  much 
fJJiJkfiflffJljffijfflttJJi     on  the  printer.    To  ask  him  to  correct  faults 
of  rhetoric  or  of  construction,  or  to  verify 

dates  and  quotations,  is  most  unreasonable,  for  his  contract  with  the 
writer  is  for  mechanical  and  not  for  editorial  work.  It  is  often  difficult 
for  the  printer  to  draw  a  just  line  between  helping  and  meddling,  but 
every  one  will  admit  that  he  should  not  cross  the  line  that  will  make  him 
liable  to  the  charge  of  presumptuous  interference.  Experience  teaches. 
To  correct  supposed  errors  unasked  is  dangerous  and  thankless.  This 
Modernized  Old-style  is  now  used  by  the  De  Vinne  Press  as  the  text 
type  of  the  CENTURY  MAGAZINE  and  the  ST.  NICHOLAS.  Its  light 
lines,  that  will  not  take  or  impart  a  strong  black  to  print,  commend  it 
to  all  who  desire  a  greater  prominence  to  be  given  to  engravings. 
<J  Of  Long-primer  we  have  seventeen  pairs  of  cases  and  one  job  case  for 
roman,  one  pair  and  five  job  cases  for  italic ;  and  two  cases  for  accents;  of 
i  Q-point  we  have  eighteen  pairs  of  cases  for  roman,  two  job  cases  for  italic, 
and  one  case  for  accents, 

10-point.     Bruce 

198 


The  Text  Types  of  the  ^eVinne 
MODERNIZED  OLD-STYLE.    No.  20 

PRINTING  from  types  is  often  slighted  as  formal,  mechani- 
cal, and  inartistic.    Each  type  in  a  text  is  objected  to  as 
exactly  like  other  types  of  that  text.     All  lines  of  prose 
except  in  the  first  and  last  lines  of  a  paragraph  are  of  the  same 
length.     All  pages  except  those  that  begin  and  end  chapters 
are  of  the  same  height.     There  is  no  flexibility  or  freedom  in 
arrangement.    A  page  of  type  is  squared,  prim,  precise,  and  of 
unvarying  uniformity.     It  shows  none  of  the  dash  and  swing  of 
free-hand  penmanship,  none  of  the  receding  in  perspective  or 
the  strong  contrasts  of  light  and  shade  customary  in  copperplate 

and  lithographic  work,  none  of  van- 

.  .  Measurement  in  12-point  ems 

ishmg  tints  of  photography,  none  of     CAPITALS  16*2 

the  ingenious  combinations  of  letters     SMALL  CAPITALS     13 
with  ornament  that  gave  charm  to  the     Lower-case  n 

medieval  manuscript  book.     Printing     ITALIC  CAPS  .   17 
purely  typographic  is  consequently     Italic  lower-case    .   nig 
said   to  be  flat,   commonplace,   and      123456789  1234.567890 
destitute  of  artistic  features.  AAAEEEIIOOUtrfN 

These  defects  are  beyond  contra-  AAAA6££Eflll666utc.N 
diction.  But  are  they  faults  to  be  aaaaeeeeiimoooouuuufn 
lamented?  Typography  has  merits  £Nddddeeeeiu6b6uMucn 
of  its  own.  It  is  now  and  always  has  been  the  most  valuable 
branch  of  the  graphic  arts.  No  other  has  done  equally  good 
service  in  education  and  in  preserving  the  literature  of  the  world. 
No  other  has  contributed  so  much  to  the  pleasure  of  the  reader. 
The  great  value  of  lithography,  copperplate,  and  photography 
may  be  admitted,  but  what  could  these  arts  do  toward  providing 
readable  letters  for  the  modern  book,  magazine,  or  newspaper  ? 
The  artistic  features  of  the  finer  arts  are  the  ones  not  wanted 
for  every-day  use;  it  is  the  unvarying  mechanical  formality  of 
types  that  is  wanted.  C  Of  Small-pica  we  have  one  pair  of 
cases  for  roman,  two  job  cases  for  italic,  and  one  case  for  accents  ; 
of  1 1 -point  we  have  twelve  pairs  of  cases  for  roman,  two  pairs 
and  two  job  cases  for  italic,  and  one  case  for  accents. 

11-point,  old  body.     Bruce 

199 


The  Text  Types  of  the  *De  'Uinne  Press 

MODERNIZED  OLD-STYLE.    No.  20 

A  TEMPTS  TO  REPRODUCE  the  fine  hair-lines 
or  fading  stipple  of  lithography  or  copperplate, 
meritorious   as    they  seem    in    other   forms   of 
engraving,  are  not  so  practicable  with  types.     Profusely 
shaded  and  ornamented  letters,  type-metal  flourishes, 
and  overworked  borders  are  decorations  of  the  past. 
Modern  taste  is  thoroughly  masculine.     The  feminine 
feature  of  delicacy,  with  its  unavoidable  feebleness,  is 
disregarded.     Readers  want  strength  and  simplicity. 
Letter-press  printing  is  strong  enough  to  stand  on  its 

own  feet,  and  to  uphold  stoutly 

Measurement  in  12-point  ems         ^  methods   that  have  earned 

CAPITALS  .  .  1914  it  honorable  distinction.  Its 
SMALL  CAPITALS  .  1314  merit  is  in  its  simplicity,  sym- 
Lower-case  .  .  1213  metry,  and  readability.  It  is 
ITALIC  CAPS  21  at  its  best  when  it  carefully 
Italic  lower-case  .  12  avoids  the  effects  easily  pro- 
123456789  1234567890  duced  by  its  rivals.  The  pre- 
AElOUf  N  AEiougN  ciseness  and  uniformity  of  the 
^aHaaaaeeeeiiiioouucns  type-printed  page,  inartistic  as 
AEfdUfN  daeiousn  they  may  seem  to  the  amateur, 

are  the  features  that  give  merit 

to  the  book  and  pleasure  to  the  reader.  The  irregu- 
larities shown  by  the  artistic  designer  in  his  construction 
and  combination  of  letters  may  be  pleasing  on  one  page 
— perhaps  in  a  dozen  pages — but  they  are  disliked  when 
offered  in  greater  quantity.  Books  of  engraved  letters 
are  objected  to  not  for  greater  cost,  but  for  offence  at  the 
designer's  intent  to  usurp  more  attention  than  the  writer. 
C,  Of  Pica  we  have  eleven  pairs  of  cases  for  roman,  two 
pairs  and  two  job  cases  for  italic,  and  one  case  for  accents, 

12-point,  old  body.     Bruce 

200 


The  Text  Types  of  the  <De  Vinne  Press 

MODERNIZED  OLD-STYLE.    No.  20 

JOHN    PINE   of  London   published    (1733- 
1737)  a  remarkable  edition  of  HORACE  in  two 
octavo  volumes.     He  began  intending  to  print 
a  book  of  superior  typography,  but  met  ob- 
stacles.   The  book  was  to  be  profusely  illustrated, 
but  printers  from  types  could  not  print  woodcuts 
with  the  delicacy  he  desired  and  give  fit  black- 
ness to  letters.     He  had  the  text  set  up  in  types 
and  spaced  to  fit  the  illus- 

Measurement  in  12-pomt  ems 

trations.     A  proof  of  the    ^  A    ™  A    0 

,  ,  CAJrlIAL,b  .      .  221*2 

composed  type  was  trans-    SMALL  CAPITALS    lfll> 

ferred  to  the  plate,  and  it    Lower.case 
was  engraved  and  printed    ITAUC  CAPS 
with  the  illustrations.    So    /&&  lml)er.case     14 

treated,   the   letters  were    12345(,789  23456789o 
beyond   correction   after- 
ward.     Lowndes  says  it 

was  "remarkable  more  for     ,.  A ..,,,.., ^.,* ,  ^  „ 

aaaaeeeeitiooouuuucn 
the  beauty  of  the  engrav- 
ing than  for  the  accuracy  of  its  text."  This  was 
the  last  notable  attempt  at  printing  a  classic  text 
from  transferred  type  by  copperplate  process, 
and  it  was  not  financially  successful.  Readers 
then  and  afterward  preferred  engraving  for  the 
illustrations  and  types  direct  for  the  text.  C.  Of 
English  we  have  four  pairs  of  cases  for  roman,  one 
pair  and  one  job  case  for  italic,  and  one  case  for 
accents;  of i^-point  we  have  four  pairs  of  cases  for 
roman. 

14-point,  old  body.     Bruce 

201 


The  Text  Types  of  the  <De  Vinne  '•Press 
MODERNIZED  OLD-STYLE.    No.  20 

OMPOSITION  from  types  offers 
advantages  to  a  writer  that  are  not 
fully  valued.  Faults  in  spelling  or 
in  the  arrangement  of  words  can  be 
corrected  with  facility.  The  blanks  or 
spaces  between  lines  can  be  readily  re- 
adjusted. A  page  can  be  made  long  or 
short  by  putting  in  or  tak- 

.  -t          -I  rj-ii          |  •  Measurement  in  12-pt.  ems 

mg  out  leads.      1  he  line     Capitals  .  .  .  .  291s 


that  seems  too  short  in     ?ma11  capitals  •  • 

J-jO  \VC1*-C!1S6    •       •       •       J.  O 


proof  can  be  spaced  be-     ^^p1^  •  ,  30^ 

Italic  lower-case    .     1684 

tween  letters  to  the  de- 
sired width,  or  it  can  be  reset  in  a  type 
of  larger  size.     The  lop-sided  line  can  be 
centred   and   types   of  single  letters  can 
be  moved  about  at  will  in  almost  any  po- 

sition.    THIS  EXTREMELY  USEFUL  FREEDOM 

IN  THE  MOVEMENT  OF  LETTERS  OR  FIGURES 
in  type  work  is  not  practicable  in  any 
other  branch  of  the  graphic  arts.  €.  Of 
this  font  we  have  three  pairs  of  cases  for 
roman,  one  job  case  for  italic,  and  one 
case  for  accents. 

18-point,  old  body.     Bruce 

202 


The  Text  Types  of  the  <De  Vinne  'Press 
MODEENIZED  OLD-STYLE.    No.  20 

JOHN  RUSKIN  wisely  says, 
"THERE  's  NO  REPENTANCE 
IN  THE  ENGRAVER  s  TRADE." 
What  is  cut  must  stand.  A  title- 
page  or  any  other  form  of  en- 
graved work  may  have  letters 
of  an  acceptable  shape,  but  the 
general    effect    of   Mea_tinl2_p,ems 
their  arrangement    <*&** ....  38i4 

Small  capitals  .     .     25 

wil    bp  made   un-    L°wer-case       2s 

**  AAic^vv-iv^        v/nj.  Italic  capitals   .     .     38% 

1  •  '  £    '  A.     1          J  Italic  lower-case   .     2  2*3 

pleasing  if  it  hud- 
dles together  some  lines  and  as 
needlessly  separates  other  lines 
that  should  be  close.  Words  so 
engraved  cannot  be  readjusted; 
the  letters  cannot  be  moved. 
In  this  font  note  a  greater  width 
of  capitals  and  of  lower-case. 
€L  Two  pairs  of  cases  for  roman 
and  one  job  case  for  italic. 


22-point,  old  body.     Bruce 

203 


The  Text  Types  of  the  <DeVinne  <Press 
OLD-STYLE  TYPES  OF  WOOD 

CHAPBOOK 
Light-face 

36-point,  old  body.     Class  II.     V.  W. 
Capitals    .     .      .     SO1^  Lower-case  .     .     .     56^ 

COARSE 
Lettering 

48-point,  old  body.    Class  II.     V.  W. 
Capitals    .     .     .     102i<2  Lower-case  ...     76 

CHAPBOOK 
Bolder  Face 

36-point,  old  body.    Class  II.    V.  W. 
Capitals    ...     81  Lower-case  ...     62 


204 


The  Text  Types  of  the  'DeVinne  'Press 
OLD-STYLE  TYPES  OF  WOOD 

Make  a 
SHOW 

60-point,  old  body.     Class  II.     V.  W. 
Capitals   .     .     .     1261^  Lower-case  ...     94 

In  a 
CAR 

108-point,  old  body.    V.  W. 
Capitals   .     .     .     22412  Lower-case  .     .     .     168 


205 


The  Text  Types  of  the  1)e  Vinne  'Press 
OLD-STYLE  TYPES  OF  WOOD 

OLD 
Types 

72-point,  old  body.     Class  II.     V.  W. 
Capitals   .     .     .     14412  Lower-case  .          .     11584 

ONE 
Face 


96-point,  old  body.      Class  II.     V.  W. 
Capitals  .     .     .     206  Lower-case  .     .     .     153 

206 


The  Text  Types  of  the  <DeVinne  Press 
OLD-STYLE  TYPES  OF  WOOD 

OLD 
Style 

72-point,  old  body.     Class  II.     V.  W.        Incomplete  assortment 

SQUEEZED 
Characters 

48-point,  old  body  Condensed.     Class  II.     V.  W. 
Capitals  ...     78  Lower-case  .     .     .     58i2 

Ran 

144-point,  old  body  Condensed.    Class  II.     V.  W.     Incomplete  assortment 

207 


The  Text  Types  of  the  T>e  Vinne 
OLD-STYLE  TYPES  OF  WOOD 


120-point,  old  body.     Class  II.     V.  W. 
Incomplete  assortment 


180-point,  old  body.     Class  II.     V.  W. 
Capitals   .     .     .     375  Lower-case  .     .     .     277 

208 


The  Text  Types  of  the  <De  Vinne  '•Press 
OLD-STYLE  TYPES  OF  WOOD 


180-point,  old  body,  Condensed.    Class  I.     V.  W. 
Incomplete  assortment 


OLD 


72-point,  old  body,  Expanded.     Class  IV.     V.  W. 
Capitals  .    .    .    206  Lower-case  .     .     .    14484. 

209 


OLD-STYLE  TYPES  OF  WOOD 

FINE 

Shape 

96-point,  old  body,  Condensed.     Class  II.     V.  W. 
Capitals  .     .     .     150^  Lower-case  .     .     .     116 

A  Nice 
TYPE 

120-point,  old  body,  Condensed.     Class  II.     V.  W. 
Capitals  .     .     .     147  Lower-ease  .     .     .     113 

210 


The  Text  Types  of  the  <De  Vinne  '•Press 
OLD-STYLE  TYPES  OF  WOOD 


180-point,  old  body,  Condensed.     Class  II.     V.  W. 
Capitals  .     .     .     274  Lower-case  .     .     .     209 


CONDENSED 


m*i      § 

Thm  Le  ers 


60-point,  old  body,  Condensed.     Class  I.     V.  W. 
Capitals   ...     74  Lower-case  ...     56 

211 


The  Text  Types  of  the  foe  Vinne  'Press 
OLD-STYLE  TYPES  OF  WOOD 

TALL 
Upstarts 

96-point,  old  body,  Condensed.    Class  I.    V.  W. 
Capitals  .    .     .     11734  Lower-case  ...     86 

Pink 

144-point,  old  body,  Condensed.    Class  I.     V.  W. 

Incomplete  assortment 

Capitals   .     .     .     164  Lower-case  ...     137 

212 


The  Text  Types  of  the  1)e  'Vinne 
CHELTENHAM  OLD-STYLE 


COMPOSITION  IS  MADE  MORE  PLEASING  when  the 
spaces  between  words  seem  to  be  of  the  same  width  in  all  lines  on  the 
page.  A  reader  is  repelled  by  print  in  which 
words  have  been  separated,  as  they  may  be  occa- 
sionally, by  two  three-to-em  spaces  in  the  first 
line  and  by  five-to-em  spaces  in  the  next  line. 
Quite  as  unsightly  are  lines  tha.t  have  been  thick- 
spaced  at  one  side  and  thin-spaced  at  the  other, 
a  disgrace  to  the  printer;  it  is  a  fault  for  which  there  is  seldom  acceptable 
excuse.  <|  Of  this  size  of  Cheltenham  we  have  one  pair  and  two  job  cases. 

10-point.    A.  T.  F.  Co. 


Measurement  in  12-pt.  ems 

CAPITALS  .    .  1534 
Lower-case.     .     .     9 
1  234567890 


Spacing  of  either  kind  is 


NOTE  the  large  size  of 
the  capital  letters,  which 
have  been  so  produced 
by  putting  the  base-line 
of  all  the  letters  upon  a 
lower  level.  The  few  let- 
ters that  go  below  this 
base-line,  as  in  j,  g,  p,  q, 
y,  are  unusually  short. 
The  space  gained  by  this 
shortening  is  used  to  in- 
crease the  height  of  the 
capitals  and  all  ascending 
etters.  The  serifs  are 
short  and  stubby.  The 
so-called  hair-line  has  a 
visible  width. 

CAPITALS  .  IOH 
Lower-case  .  6}£ 

6-point 


OLD 

Styl 


e 


72-point.     A.  T.  F.  Co. 
Capitals  10213      Lower-case   59 


A  USEFUL  type 
for  job  work  in  any 
form  of  printing  that 
calls  for  a  letter  of 
marked  thinness,  that 
does  not  show  loss 
in  its  readability  from 
compression.  Many 
old  -  style  features 
have  been  preserved: 
the  joined  letters  & 
and  dt,  and  the 
quaintness  of  early 
arable  figures. 
CAPITALS  12*2 
Lower-case  T1^ 
8-point 


C 


IONDENSED  LETTER  should  be  thin-spaced  invariably.  The 
proper  space  between  words  in  any  type  is  fairly  indicated  by  the 
blanks  between  the  stems  of  the  letters  m  and 
n  of  that  type,  which  will  be  wide  in  fat  and 
narrow  in  lean  types,  and  should  be  a  safe 
guide  for  the  determination  of  correct  spac- 
ing. CJ  Of  this  size  we  have  two  job  cases. 

11-point.    A.  T.  F.  Co. 
213 


Measurement  in  12-pt.  ems 

CAPITALS  .  i634 
Lower-case  .  .  934 
1234567890 


The  Text  Types  of  the  1)e  Vinne  "Press 
CHELTENHAM  OLD-STYLE 

|LD-STYLE  features  are  more  pronounced  in 
the  capitals  of  Cheltenham  than  in  its  lower- 
case. The  critical  reader  misses  the  stiffness 
and  angularity  of  many  of  the  characters  in  the  older 
Caslon  style.  These  capitals  can  be  used  with  con- 
sistency for  two-line  letters  with  modernized  old-style 
or  real  old-style  when  letters  of  proper  height  for  these 
older  styles  are  not  to  be  had. 

Cheltenham  is  not  to  be  recommended  for  open  dis- 
play in  combination  with  lines  that  have  been  set  in  any 
of  the  modernized  forms  of  old-style  that  have  thinner 
hair-lines.  Yet  a  title-page  ex-  Mea8urement  in  12.point  ems 
clusively  in  this  face  of  type  will  PA  PIT  A  IS 
be  pleasing  and  consistent  before  Lower<ase  123* 
a  pamphlet  or  a  text  set  in  any  ^ ,  234^90 
race  or  old-style,  it  has  lightness 
enough  even  for  the  Elzevir  or  Cadmus  letters,  and 
blackness  enough  to  usher  in  properly  the  XV  Century 
or  Bradford  style. 

Advertisers  and  publishers  of  illustrated  catalogues 
have  received  the  Cheltenham  with  marked  favor,  for 
it  combines  the  extreme  of  compactness  with  great  clear- 
ness. More  matter  can  be  put  with  legibility  in  a  small 
space  than  in  the  more  generally  accepted  form  of  roman 
letter.  It  is  approved  by  job  printers  as  a  neat  style  for 
circulars  and  pamphlets,  but  it  has  not,  as  yet,  any  popu- 
larity as  a  text  letter  for  the  standard  books  of  publishers. 
fl  Of  this  face  we  have  two  pairs  and  two  job  cases. 

14-point.     A.  T.  F.  Co. 
214 


The  Text  Types  of  the  *De  Vinne  Press 
CHELTENHAM  OLD-STYLE 

THE  TITLE-PAGE 

has  very  few  types,  but 
its  proper  arrangement 
requires  some  thought 

36-point.     A.  T.  F.  Co. 
Capitals  50*2    Lower-case  28% 

THE  TYPE  OF  THE  TITLE  should  be  of  the  same  face 
as  that  of  the  text.  This  is  easier  said  than  done,  for  there 
are  few  text  types  provided  with  larger  sizes  of  precisely  the  same 
face  and  fitted  for  words  and  lines  of  different  length.  The  com- 
positor must  do  the  best  he  can  with  the  faces  and  styles  that  are 
available,  but  he  must  avoid  harsh  contrasts.  He  should  understand 
at  the  outset  that  his  composition  will  be  most  satisfactory  when 
the  types  selected  show  mutual  relation. 

A  title-page  may  be  entirely  in  capitals  or     Measurement  in  12-pt.  ems 
entirely  in  lower-case  (initial  letters  ex-     CAPITALS    .  is 
cepted),  either  in  roman  or  italic,  but  two     Lower-case .     .  1014 
series  can  seldom  be  used  together.  j  234567890  tjsldt1 " 

Written  copy  for  the  title-page  matter 

should  be  studied  before  the  first  line  is  put  in  type.  The  com- 
positor should  predetermine  how  many  lines  and  how  much  blank 
between  lines  are  really  needed.  He  should  begin  by  sketching 
on  a  bit  of  paper  the  relative  size  and  length  of  the  proposed  lines. 
The  first  lesson  to  be  learned  by  him  is,  that  the  attractiveness  of 
a  title-page  depends  as  much  upon  the  proper  distribution  of  white 
space  as  on  the  proper  display  of  important  words. 

12-point.    A.  T.  F.  Co. 
215 


The  Text  Types  of  the  <De  Vinne  Press 
CHELTENHAM  OLD-STYLE 

SPACING 


60-point.     A.  T.  F.  Co. 
Capitals  85 


YOUNG  COMPOSITOR  should 

J?3L  read  over  every  line  as  soon  as  he  sets 
it,  and  at  once  correct  any  error  in  type  or 
spacing.  Before  he  empties  the  matter  on 
the  galley  he  should  read  it  again,  looking 
for  outs  and  doublets.  The  time  given  to 
correction  in  the  stick  is  not  time  lost.  It  is 
easier  to  correct  there  than  on  the  galley  or 
stone,  and  it  is  worth  a  deal  of  trouble  to  ac- 
quire the  reputation  of  a  clean  compositor. 


18-point.    A.  T.  F.  Co. 
Capitals  271<j  Lower-case 


of  Importance 


60-point.     A.  T.  F.  Co. 
Lower-case  4  8  is 

216 


The  Text  Types  of  the  ^DeVinne  'Press 
CHELTENHAM  OLD-STYLE 

OVER  -WIDE 

48-point.     A.  T.  F.  Co.  Capitals  6334 

HY  should  the  running 
title  of  a  few  letters,  or  even 
those  of  a  title-page,  be  dis- 
located with  very  broad 
spaces  between  letters  to  make  the 
line  fill  the  measure?  This  explosive 
treatment  is  not  practised  in  short 
lines  of  poetry  or  in  dialogue  matter. 
It  does  not  make  the  page  more  sym- 
metrical or  the  intent  of  words  any 
clearer.  It  does  confuse  the  reader. 


24-point.    A.  T.  F.  Co. 
Capitals  3434  Lower-ease  20 


Spacing  is  a  Fault. 

48-point.     A.  T.  F.  Co.  Lower-case  8813 

217 


The  Text  Types  of  the  <De  Vinne  Press 
CHELTENHAM  OLD-STYLE 

COMPOSITION 

meets  most  approval 
when  wisely  planned 
with  a  close  attention 
to  many  trivial  details 

42-point.     A.  T.  F.  Co. 
Capitals  59*2  Lower-case  33^ 

ILLUSTRATIONS, 

as  of  descriptive  cuts,  diagrams 
or  initials,  always  need  much 
white  space  about  them  for 
their  fair  presentation.  Do  not 
place  types  too  close  to  a  cut. 


30-point.    A.  T.  F.  Co. 
Capitals  42  Lower-case 

218 


The  Text  Types  of  the  ^De  Vinne 
ELZEYIE  OR  CADMUS 


rHIS  ITALIC,  WITH  ITS  STUBBYSER- 
IFS,  CLOSE-FITTING  tAND  THICKER 
LINES,  IS  ESPECIALLY  FIT  FOR  ELECTRO- 
TYPED  STAMPS  OF 'BOOKBINDERS,  v4ND 
FOR  APPLICATION  IN  WHICH  COMMON 
SMALL  CAPITALS  <ARE  EXPOSED  TO  SE- 
VERE IMPRESSION  iAND  SOON  WEAR. 
SWASH  LETTERS  SHOULD  NOT  (MEET. 


THIS  LETTER  IS  OF  SERVICE  FOR  THE 
CATCH-LINES  IN  SMALL  TITLE-PAGES 
SET  IN  ELZEVIR,  OR  FOR  TWO  OR  MORE 
COLUMNS  OF  PROPER  NAMES  ARRANGED 
IN  TABULAR  FORM. 


r 


TALS  ONLY,  WITHOUT  LOWER -CASE  SORTS,  'WAS 
BOUGHT  AS  THE  PROPER  MATE  FOR  THE  ELZEVIR 
TWO-LINE  FACES  SHOWN  ON  ANOTHER  PAGE. 


Capitals  .  9*2          Small  capitals  .  T1^          Italic  capitals  . 

Of  this  font  we  have  two  job  cases  for  roman  capitals 
and  one  job  case  for  italic  capitals. 

6-point  Elzevir.     Mayeur 


Who  designed  this  face? 


1212 

81* 


ELZEVIR  is  a  name  unwisely  chosen,  for  this  face  is  not  at  all  like  the  Van 
Dijk  faces  largely  used  by  the  famous  printers  of  Holland.  Who,  then,  did 
design  it?  Didot  ("  Essai  sur  la  Typographic,"  p.  699)  says  that  Garamond 
and  Sanlecque  made  types  for  the  Elzevirs.  An  Italian  authority  ("  Tipo  Italiano 
non  Elzeviriano,"  appunti  di  B.  L.  Centenari,  Rome, 
1879)  intimates  that  the  Elzevirs  were  provided  with 
some  Italian  types.  The  author  gives  us  no  satis- 
factory evidence  in  support  of  this  intimation,  and 
Willems  ridicules  it,  but  it  must  be  admitted  that 
this  so-called  Elzevir  letter  has  features  unlike  those 
of  any  seventeenth-century  face  made  in  France  or 
Holland. 

This  face  was  revived  in  1878  by  Gustave  Mayeur 
of  Paris,  who  says  that  he  selected  for  his  model  the 
types  of  a  book  printed  in  1634  by  the  Elzevirs  of 
Leyden.  It  is  a  compressed  letter,  with  a  large  open 
face,  short  ascenders  and  descenders,  and  thin  stems, 

plainly  made  to  withstand  wear,  for  its  few  hair-lines  are  thick  and  the  serifs  are 
short  and  stubby.  Although  fitted  with  unusual  closeness  it  is  a  readable  letter,  and 
popular,  not  only  with  publishers  and  authors,  but  with  job  printers.  Its  durable 
two-line  letters  make  it  especially  valuable  for  book  titles  and  open  display.  €][  Of 
this  font  we  have  four  pairs  of  cases  for  roman,  one  pair  of  cases  for  italic,  and 
one  case  for  accents. 

8-point  Cadmus.     Farmer 

219 


Measurement  in  12-pt.  ems 
CAPITALS    .     .     .     lli^ 

SMALL  CAPITALS     .       .          8*% 

Lower-case  ...  S1^ 
ITALIC  CAPS . 
Italic  lower-case 
1234567890  1234567890 
AAAEEEiilOOOUUg  AEIOU 
aaaaeeeeiiiooouuuucn 
AEIOU  daaaeeeeiinoduuf  n 


Measurement  in  12-point  ems 

'CAPITALS  ....   15 

SMALL  CAPITALS  .      .      .    10^ 

Lower-case.  .  .  .  1034 
ITALIC  CAPITALS  1534 
Italic  lower-case  .  .  lO^ 
1234567890  1234567890 


aaa  6eee  i  \  i  i  6666  uuuiign 


The  Text  Types  of  the  <DeVinne  Press 

ELZEVIR  OR  CADMUS 

THIS  face  and  body  were  selected  by  the  Committee  on  Publi- 
cations of  the  Grolier  Club  of  the  City  of  New  York  for  their 

edition  of  the  Knickerbocker  History  of  New  York,  which  was 

published  in  1886  in  two  volumes 
octavo,  with  appropriate  illustra- 
tions by  George  H.  Boughton,  Will 
H.  Drake,  and  Howard  Pyle. 

In  these  Elzevir  or  Cadmus  faces, 
the  careful  reader  will  note  the  care 
given  by  the  designer  to  secure  prop- 
er openness  within  each  character. 
Counters  are  deep  and  the  space 
between  parallel  stems  is  unusually 

AAAAE160  ddddae'ioUcn     wide.     Round  letters  like  a  o  e  are 

tall,  and  the  arch  of  curved  letters 

like  m  n  d  p  shows  more  flattening  at  the  top.    C  Of  this  face 

we  have  jive  pairs  of  cases  for  roman  and  one  pair  for  italic. 

10-point  Cadmus.     Fanner 

ADMUS  TYPE  of  the  Farmer  Foundry  is 
identically  the  same  as  the  Elzevir  of  Mayeur 
&  Co.  of  Paris.  Each  font  was  cast  from  ma- 
trices struck  from  the  same 
punches.  Its  lower-case  has 
unusual  height,  and  the  serifs 
are  so  short  that  the  charac- 
ter is  differentiated  with  diffi- 
culty from  the  newer  cuts  of 
light-faced  gothic.  Some  of 
123456789  1234567890  the  italic  capitals  have  two 
AAAAEIOU  AAAAAAA  forms— one  of  the  ordinary 
aaaa'aaaa  e" e  i  660666 09  model  and  one  with  old-fash- 
AAAA  dddddddaeidil  ioned  swashes.  €  Of  this  font 

we  have  four  pairs  of  cases  for 
roman,  two  job  cases  for  italic,  and  one  accent  case. 

12-point  Cadmus.     Farmer 

220 


Measurement  in  12-point  ems 

CAPITALS      .    .  MI, 

SMALL  CAPITALS      .   1313 

Lower-case     .    .  13 
ITALIC  CAPS  .  19% 
Italic  lower-case  .  1213 


The  Text  Types  of  the  <De  Vinne  '•Press 
ELZEVIE  OR  CADMUS 

RENCH  Body  1 4  of  the  so-called  Elzevir 
face,  in  amore  marked  manner  by  reason 
of  its  larger  size,  shows  all  the  peculiar- 
ities previously  noted  in  the  i2-point  Cadmus. 
It  seems  almost  as  large  and  quite  as  distinct  as 
modernized  old-style  on  i8-point  body.  Com- 
position in  all  forms  of  Cadmus  or  Elzevir  face  is 
much  improved  when  it  has  been  leaded.  Note 
also  that  there  are  swash  letters  to  the  italic,  and 
two  forms  of  arabic  fig- 

Measurement  in  12-pomt  ems 

ures,  one  for  roman  and    /-ADITAIC 

r  .,     ,.  ,  W\l    1  I  ALO       .        .     2014 

one  for  italic,  and  a  very  SMALL  CApITALS  ;  142, 

large  provision  of  accents.  Lower-case  . 

It  also  has  in  its  italic  series  if/me  CATS  2is4 

the  conjoined  letters  QU,  /Mc  lower_case  131J 

Qu,  ax,  es,  u,  us,  ft,  II,  and  ,     4  6    34567890 

Sf>.  They  are  not  at  all  fan-  x ccf AT'T^XT  -"-   - 

* ,.  .   /  .  AEEIOUCN  AEIOUCN 

tastic  in  form,  but  they  give  , ,  *..,,.  ™  ,  *  *..,,; 

1. e  aaaaeeeemoooouuuc 

an  acceptable  alternation  to  ^1ir\         •     A//^ 

Qu  Qu  axesuusattsb 
plain  composition. 

Capitals  and  small  capitals  of  the  Cadmus  and 
Elzevir  style  may  be  used  with  advantage  in  the 
catch-lines  or  the  minor  lines  of  display  in  title- 
pages  that  have  been  ordered  in  two-line  letters 
of  Elzevir.  C,  Of  this  body  we  have  three  pairs  of 
cases  for  roman,  one  and  one-half  pairs  for  italic, 
and  two  accent  cases. 

14-point  Elzevir.    Mayeur 

221 


The  Text  Types  of  the  lie  Vinne  'Press 
ELZEVIR  OR  CADMUS 

H I S  small  font  from  the 
Central  Type  Foundry 
of  St.  Louis  was  bought 
to  fill  a  gap  in  the  sizes  of  capi- 
tals of  the  two-line  Elzevir.  It 
has  no  small  capitals  and  no  italic. 
In  all  composition  from  Cadmus, 
Elzevir,  or  French  Old-style  note 
the  extreme  lightness,  thinness, 
and  openness  of  all  the  charac- 
ters. These  are  desirable  quali- 
ties in  a  proper  place,  but  the 
selection  of  this  style  in  com- 
bination with  types  of  modern 
form  and  of  bolder  face  should 
be  avoided.  When  capitals  only 
are  used  it  will  be  judicious  to 
hair-space  the  letters  that  fit  too 
closely.  COf  this  face  we  have 
one  job  case  only. 


20-point  French  Old-style.        C.  T.  F. 
Capitals  Sl1^  Lower-case  2184 

222 


The  Text  Types  of  the  foe  Vinne  'Press 
RENKER 


Measurement  in  12-point  ems 

CAPITALS  .    ...  101, 

SMALL  CAPITALS.      .    14 
Lower-case     .... 
ITALIC  CAPITALS 
Italic  lower-case       .     .   10*3 
1234567890  1234567890 


ENNER  FACE  appears  to  best  advantage  in  the 
ELIZABETHAN  SHAKSPERE  edited  and 
annotated  by  Mark  Harvey  Liddell.  The  first  vol- 
ume, Macbeth,  was  published  in  1902  by  Doubleday, 
Page  &  Company,  in  the  form  of  a  medium  quarto 
(leaf  9  by  12  inches),  on  Van  Gelder  paper.  The  text  was  set  in 
I4-point,  with  notes  in  10-point  that  enclosed  the  text  on  three 
sides,  after  a  fashion  that  was  generally  observed  by  many  printers 
of  the  fifteenth  century  in  the  printing  of  texts  that  called  for 
much  comment.  The  preface  of  this  ELIZABETHAN  SHAK- 
SPERE was  in  italic  of  I4-point. 
The  decorative  initial  letters  were 
those  of  Erhard  Ratdolt  of  Venice, 
and  are  partially  shown  on  page 
48  of  this  book. 

This  10-point  is  a  fair  reduction 
of  the  I4-point,  but  there  is  a  trifle 
more  of  boldness  in  the  lines,  as 
seemed  desirable  for  the  body  of 
smaller  size.  One  of  the  peculiari- 
ties of  this  Renner  face  is  the  en- 
larged height  and  width  of  small 
capitals.  In  most  fonts  of  roman  letter  the  small  capitals  are  not 
higher  than  the  round  letter  of  the  lower-case,  and  they  are  always 
so  closely  fitted  that  their  hair-spacing  is  often  needed.  This 
compactness  makes  them  insignificant  even  for  catch-lines,  and 
useless  for  types  of  display.  In  this  face  we  have  increased  height, 
more  width,  and  greater  readability.  Arabic  figures  have  old-style 
features,  but  they  are  made  to  line  with  one  another.  Signs  for 
paragraphs  are  sufficiently  distinct,  but  do  not  have  the  blotchy 
appearance  of  the  old  forms.  There  are  no  catch-words  at  the 
foot  of  each  page  or  joined  letters,  yet  the  page  retains  a  distinct 
old-style  appearance.  SF  Of  this  face  we  have  six  pairs  of  cases 
for  roman,  one  pair  of  cases  and  one  job  case  for  italic,  and  one 
case  for  accents. 

10-point.     Bruce 


aaaaeeeeiiii6666uuuu9n  uuun 


223 


EENNEK 


RAIIZ  HEnilER  of  Hailbrun,  Germany, 
was  the  sixth  printer  of  Venice,  in  which 
city  he  practised  his  art  with  success  be- 
tween the  years  1470  and  1494-  He  found 
there  the  brothers  de  Speyer  and  Nicolas 
Jenson,  rivals  of  great  ability,  who  were  try- 
ing to  please  Italian  readers  with  new  roman 
types.  Renner  was  moved  to  emulation,  and 
gave  to  his  readers  a  roman  letter  of  much  lighter 
face  than  those  of  his  competitors.  It  had  some 
crudities  but  much  merit. 

The  type  of  this  page  was  remodelled  on  that  of 
Renner's  "Quadragesimale"  of  1472.  In  1899  it 
was  recut  for  the  service  of 

the  De  Vinne  Press,  to  meet      Meas-ement  in  12-P°int  ems 
the  wishes  of  buyers  who     CAPITALS.  .  .  '  i1^ 
objected  to  the  thinness  of     SMALL  CAPS.  .  .  16% 
modernized  old-style.  Lower-case  ....  1313 

The  legibility  of  printing  ITALIC  CAPS  2034 
does  not  depend  so  much  Italic  lower-case  .  1234 
upon  a  type  of  thick  lines  I23456782J?4567S5>0 
as  it  does  on  the  clearness 

and  instant  visibility  of  every  line  in  every  character. 
To  this  end  the  hair-lines  of  this  style  were  made 
firmer  and  thin  letters  were  widened.  Old  rules 
were  observed.  Short  letters  occupy  but  about  one 
third  of  the  body  and  ascenders  and  descenders  are 
of  equal  length.  This  treatment  gives  the  white 
space  between  lines  that  is  needed  for  easy  reading. 
This  modernized  Renner  type,  first  used  in  1900 
by  the  Grolier  Club  of  the  City  of  New  York  for 
the  printing  of  a  limited  edition  of  Boccaccio's  Life 
of  Dante,  has  since  been  employed  in  many  other 
books  of  importance.  €J  Of  this  face  we  have  five 
pairs  of  cases  for  roman  and  one  pair  for  italic. 

14-point.     Bruce 

224 


The  Text  Types  of  the  foe  Vinne 
KENNEE,  BOLD-FACE 

SEFUL  AS  IT  MAY  BE  in  words  that 
really  require  a  distinctive  letter  within 
a  text  of  roman*  italic  has  the  defect 
of  insufficient  boldness*  It  makes  a 
weak  side-heading  when  in  type  of  the 
same  size  as  the  text  letter*  Adver- 
tisers object  to  it  as  giving  but  feeble 
emphasis  to  words  marked  within  a  paragraph* 
In  dictionaries  and  other  works  of  like  nature 
that  need  at  the  beginning  of  every  paragraph 
a  letter  intended  to  arrest 
attention  at  first  glance,  a 
bolder  face  of  type  is  a  real 
need*  The  fat-faced  title 
type  that  was  preferred  for 
subheadings  is  out  of  favor*  It  is  now  required 
that  the  bold  type  for  a  sub-  or  side-heading  of 
this  class  shall  have  the  same  peculiarities  as 
the  type  of  the  text*  For  this  purpose  the  Bold- 
faced Renner  was  made*  but  it  has  been  used 
with  advantage  in  the  selected  paragraphs  of 
circulars  and  pamphlets  that  seem  to  require 
special  distinction  without  any  parade  of  bold 
display*  Pamphlets  that  need  a  text-type  of 
old-style  shape  will  find  this  Renner  a  most 
useful  letter*  tj  Of  this  face  we  have  two  pairs 
of  cases  for  roman*  It  has  no  small  capitals* 
italic*  or  accents* 

14-point.     Bruce 
225 


Measurement  in  12-pt.  ems 

CAPITALS  22^ 
Lower-  case  1314 
1234567890 


The  Text  Types  of  the  ^DeVinne  Press 

KENNEK 

/TALIC  as  the  running  mate  to  roman  type  was 
unknown  to  V^enner  or  to  any  printer  of  the  fif- 
teenth century,  for  it  was  first  made  and  used  by 
Aldus  Manutius  in  1500.  Emphatic  words  within 
the  text  in  types  of  entirely  different  form  were  not 
then  called  for. 

To  distinguish  words  intended  to  carry  emphasis, 
the  (DeeDinne  Press  was  induced  to  have  made  for 
that  house  a  new  series  of  Renner  rpman  letter  with 
dots  under  each  character.  In  so  doing  it  followed 

the  example  set  by  the  Lon- 

Measurement  in  12-point  ems  ^   type.founde^   JackSOn, 

CAPITALS.  2034  wno  used  dotted  letters  in- 
Lower-case  .  .  i234  stead  of  italic  for  words  of 

1234567890  distinction  in  the  grand  edi- 
tion of  the  Macklin  Bible  in 

seven  folio  volumes.  For  there  were  then  and  are 
now  critical  readers  who  maintain  that  a  mixing  in 
the  same  line  of  an  upright  and  a  slanting  letter  is  an 
offence  against  good  order  and  good  taste. 

These  critics  are  in  the  minority;  a  larger  number 
of  readers  insist  on  italic  as  a  character  needed  for 
emphasis.  The  italic  letter  here  shown  is  not  that 
of  ^enner,  but  an  adaptation,  to  which  the  peculiar- 
ities of  the  ^enner  roman,  and  other  old-style  fea- 
tures like  swash-letter  capitals,  have  been  transferred. 

This  italic  is  preferred  by  many  readers  as  a  text 
letter  to  show  the  supposed  needed  change  of  style  in 
prefaces  or  circulars.  It  is  not  a  type  of  bold  dis- 
play, but  it  is  as  readable  as  the  roman,  and  more 
distinct  than  many  other  forms  of  inclined  letter. 
9  Of  this  face  we  have  one  pair  of  cases. 

14-point  Italic.     Bruce 

226 


The  Text  Types  of  the  <De  Vinne  'Press 
KENNER 

A  TWO-LINE  LETTER 
WITH  WIDE  FIGURES 


Capitals  4034 
20-point.     Bruce 


IXTEEN-POINTisatype 
seldom  selected  now  for  the 
text  of  any  book,  yet  it  was 
once  the  preferred  size  for 
all  Folios  and  large  Quartos. 
Its  large  letters  aided  easy 
reading,  but  greater  largeness  of  type 
rarely  made  an  ordinary  book  unduly 
thick.  This  16-point  Renner  is  broad 
and  is  not  recommended  for  measures 
of  less  than  30  ems  of  pica.  For  a  thin- 
ner type  on  16-point  body,  see  page  I6l. 


Capitals  31     Lower-case 
16-point.     Bruce 


IJHIS  font  of  Renner  or  8-point  body  is  in  small  supply,  and  should 
not  be  selected  for  a  verbose  circular  or  as  the  text  letter  of  a  pamph- 
let or  book.  It  will  find  its  best  field  of  service  in  the  composition 
of  sub-headings  or  for  the  side  or  foot-notes  to  Renner  pages  in  longer  type. 
It  mates  well  with  Bradford,  MacFarland,  Ancient  Roman,  and  even  with  Gush- 
ing Monotone,  and  will  be  serviceable  in  the  catch  lines  for  these  faces. 

Capitals  1334     Lower-case  834 
8-point.     Bruce 

227 


The  Text  Types  of  the  ^DeVinne  'Press 

MACFAKLAND  AND  BRADFORD 

MISTAKE  is  often  made  by     THIS  MacFarland  face  from  the 
,  1     Inland  Type  Foundry  of   St. 

compositors  in  the  selec-     Loujs  ig  not  anyfmitation  J the  An. 

tion  of  a  light-face  roman  type     cient  Roman  or  of  the  Bradford 
with  sharp  hair-lines  for  press-     faces  here  , 

work  in  red  ink  Or  in  any  color      exemplified   Measurement  m  12-pt. 

paler  than  black.    Its  thin  lines  which  style  CAPITALS is 

will  not  retain  and  cannot  trans-  resembles7  Lower'case 

fer  color  enough  to  make  the  It  was  rel   l  2  3  4  5  6  7  8  9 

Show  desired.     These  MacFar-  drawn  by  the  artist  whose  name  it 

land  Or  Bradford  faces  Will  be  bears  from  a  careful  study  of  a 

found  broad  bold-faced  letter  made  at  Venice  at 

Measurement  in  12-pt.  the  end  of  the  fifteenth  century  and 

CAPITALS  .  1712  e  used  soon  after  in  Parts- 
Lower-case.  .  1112   *m°dera'ed  This  face  can  be  used  for  sub- 
display,  but  headings  or  in  the  display  of  title- 
12049071     '   |f   a    Bolder  Pa8es  °r  other  open  composition  of 

show  is  needed  select  a  bold-face     Ancient  *oman  W6-    The  Peculi- 

..,         wr      i.  i        «  A        •          antics  of  the  original  form  have 

title.     We  have  also   10-pomt     been  faithfully  psreserved  |n  all 

Bradford,    €J  One  job  case.  these  styles,   fl  One  pair  of  cases. 

10-point  MacFarland.    Farmer  8-point  MacFarland.     Farmer 

A  Useful  Face  of  Letter  either 
IN  CAPITALS  or  IN  LOWER-CASE 

Capitals  27^    Lower-case  16 
18-point  MacFarland.    Farmer 

^ILLIAM  BRADFORD,  who  gives  name  to 

this  face  of  type,  has  distinction  as  the  first 

Measurement  in  12-point  ems      P»nter  in  the  City  of  New  York. 

r>  A  r»iT  A  T  e  Born   in   England   in  the  year 

CAPITALS    .    .    2012        «~eo    u       U 

Lower  case  1658>  he  began  as  a  Pnnter   m 

L,U  WV»l-LdbC    ...     121<2         T-AI    -i       i     i     i_  •         •          ..  ~^**  »¥ 

Philadelphia  in   1682.     He  re- 
moved to  New  York  in  1693  and 
died  there  in  1752.    §  One  job  case. 

12-point  Bradford.     Fanner 

CLEAR  and  PRETTY 

Capitals  4334     Lower-case  26 
24-point  Bradford.     Farmer 

228 


The  Text  Types  of  the  *De  Vinne  Press 
CENTUKY  EXPANDED 


|HIS  face  of  type  was  first  made 
on  10-point  body,  for  use  on 
THE  CENTURY  MAGAZINE, 
and  it  has  been  used  for  many  books 
of  The  Century  Co.  The  expansion 
of  the  letter  is  upward,  enabling  one 
to  get  much  matter  in  small  space. 

Capitals  28     Lower-case  20 
18-point.     A.  T.  F.  Co. 

Legibility  first,  Decoration  last 

PRINTING,  in  its  early  days,  was  a  mas- 
culine art.  The  value  of  the  printed  book 
was  in  its  readability.  The  types  used  might 
be  large  or  small,  thick  or  thin,  but  they  were 
always  distinct.  There  were  thin  and  thick 
strokes  in  the  many  forms  of  letter  then  in 
use,  but  the  thicker  stroke  was  always  pro- 
tracted, and  the  thin  stroke  always  of  a  per- 
ceptible width.  Knowing  well  they  could  not 
compete  with  skilled  copyists  in  refinements 
of  decoration,  the  old  printers  wisely  gave 
their  best  efforts  toward  making  print  plain. 
The  change  that  came  with  the  new  method  of 
engraving  on  wood,  in  its  imitation  of  copper- 
plate delicacy,  was  damaging  to  typography. 

Capitals  22    Lower-case  1 
14-point.     A.  T.  F.  Co. 
229 


The  Text  Types  of  the  foe  Vinne  "Press 
CENTUEY  EXPANDED 

A  Pleasing  Face  in 

A  TITLE-PAGE 

as  Capitals  or  in  its 
Lower-case  series. 


Capitals  54    Lower-case 
36-point.     A.  T.  F.  Co. 


THE  TWO-LINE  TYPES  chosen 
for  books  by  the  printer  may 
show  a  sad  disagreement  of  face. 
Some  are  obese,  others  lean  ;  some 
with  thicker  and  others  with  thinner 
stems ;  some  have  flat  and  extended, 
and  others  very  short  and  bracketed, 
serifs.    That  series  is  rated  as  com- 
plete which  embraces  all  the  regular 
bodies  from  two-line  diamond  to  two- 
linegreat- 
Measurement  in  12-pt.         primer, 

CAPITALS  .         13i2      but  everv 
composi- 

SMALL  CAPITALS     10%        tor      ^ 

Lower-case  .  .  9^  finds  that 
1234567890  these  are 
not  suffi- 
cient. He  needs  intermediate  sizes  : 
capitals  that  are  smaller  and  two- 
lines  larger  than  any  in  the  series. 
He  has  to  make  use  of  the  capitals 
of  the  ordinary  text  types,  to  two- 
lines  of  other  series,  to  condensed 
faces,  to  italic  capitals  and  black- 
letter.  H  Of  this  font  we  have  one 
job  case. 

8-point.     A.  T.  F.  Co. 


\  TITLE  composed  with  incongruous  faces 
XX.  is  always  unpleasing.  The  author  is 
usually  quick  to  notice  discord,  but  he  has 
not  the  technical  knowledge  that  enables  him 
to  detect  its  true  cause.  He  imputes  the 
discord,  not  always  rightfully,  to  the  bad 
taste  of  the  compositor,  when  oftener  it 
should  be  imputed  to  a  scant  supply  of  sizes 
and  the  incongruity  of  faces.  Some  pub- 
lishers have  been  so  annoyed  by  the  wide 
gaps  between  existing  sizes  of  two-line  let- 
ter, and  the  incongruity  of  any  substituted 
face,  that 

Measurement  in  12-pt. 


CAPITALS 


SHALL    CAPITALS 


1034 

823 

Lower-case     ...       7*3 
1234567890 


they  have 
ordered  spe- 
cial lines  and 
occasionally 
the  entire  ti- 
tle to  be  en- 
graved —  too 
frequently.it 
must  be  ad- 
mitted, without  improvement.  Others  have 
ordered  a  title  for  a  text  in  modern-cut  to  be 
set  either  in  the  Elzevir  or  the  Caslon  old- 
style,  which  appear  to  be  the  styles  most 
available,  and  with  a  fairly  acceptable  grad- 
ing of  sizes.  The  impropriety  of  a  title  in 
old-style  before  a  text  in  modern-cut  is  fore- 
seen and  deplored,  but  it  seems  a  fault  not 
so  offensive  as  the  mixing  of  unrelated  two- 
lines  on  the  same  title-page.  IT  Of  this  font 
we  have  one  job  case. 


6-point.     A.  T.  F.  Co. 


230 


The  Text  Types  of  the  cDe  Vinne  *Press 


Measurement  in  12-point  ems 
CAPITALS  ....   1334 

SMALL  CAPITALS       .      .       934 

Lower-case  ....  9 
ITALIC  CAPITALS .  13i4 
Italic  lower-case  .  .  S^ 
1234567890  HfHIiU 
AAAAEIOUQN  AAAAfiiiougN 
aaaaeeeeiiiiooob'uuuiisn 
AAAAEI6  UQNddaeewdduug 


CENTURY  EXPANDED 

i  ESIGNING  a  new  face  of  type,  to  be  based  on  the  old-style  model 
so  as  to  show  apparent  evidence  of  its  age,  too  often  begins  with 
the  wrong  notion  that  rudeness  must  be  its  strong  feature.  It  is 
assumed  that  the  old  type-makers  were  careless  in  drawing,  as  well 
as  unskilled  in  engraving.  It  is  supposed  that  some  degree  of  sloven- 
liness will  be  of  service  in  making  a 
newly  created  type  conform  to  the  spirit 
of  old  time.  The  ruder  the  type  the  greater 
its  probable  age.  Types  of  the  seventeenth 
must  be  rougher  than  those  of  the  nineteenth 
century ;  types  of  the  fifteenth  century  must 
be  constructed  to  show  an  ignorance  of  or 
indifference  to  the  established  rules  of  propor- 
tion and  symmetry  that  had  been  observed 
by  the  writers  of  good  manuscript  books  be- 
fore the  invention  of  types,  and  ever  after- 
ward by  engravers  and  designers  of  letters. 

There  is  no  warrant  for  this  belief.  A  book  reviewer  of  authority  has  said 
that  "  The  first  book  is  better  than  the  last, "  and  that  Gutenberg's  Bible  of 
Forty-two  Lines  still  remains  the  model  of  a  well-made  book.  Not  every 
one  will  assent  to  this  enthusiastic  dogmatism,  but  all  printers  will  agree 
that  this  Bible  has  a  rightful  place  in  the  front  rank  of  fine  books.  <I  Of 
this  face  we  have  one  pair  of  cases  for  roman,  one  pair  for  italic,  and  one  job 

case  for  accents. 

9-point.    A.  T.  F.  Co. 

ORDINARY  care  was  shown  in  the  designing  and  engraving  of  early  types  ;  the 
qualified  readers  of  that  period  did  not  tolerate  slovenly  type  and  printing. 

There  were  then  and  have  been  ever  since  enough  of  slovens  in  the  making  of 
types,  but  much  of  the  inferior  early  work  has 
disappeared  and  is  forgotten.  It  was  properly 
condemned  as  rubbish  by  the  readers  of  the  fol- 
lowing centuries.  But  few  failures  survive.  I 
have  one  before  me,  Dr.  John  Scott  on  the  Four 
Books  of  Sentences,  printed  by  Windelin  de  Speyer 
at  Venice  in  1475. 

Its  carelessly  drawn  letters  were  not  properly 
adjusted  on  the  matrices ;  its  types  were  conse- 
quently printed  out  of  line,  and  they  present  a 
most  unpleasing  appearance  in  spite  of  its  decent 
presswork,  but  there  is  no  evidence  known  to  me 
that  this  type  was  ever  used  again  in  any  other  work,  fl  Of  this  somewhat  thin 
face  we  have  one  pair  of  cases  for  the  roman,  one  pair  for  the  italic,  and  one  job  case 
for  accents. 

8-point.     A.  T.  F.  Co. 

231 


Measurement  in  12-point  ems 
CAPITALS  .....    11 

SMALL  CAPITALS    ...         9 

Lower-case      ....       8 
ITALIC  CAPITALS    . 
Italic  lower-case  ...       8 
1234567890 


aaaaeeeeniI6666uufiuc,n 
AAAEfiMl6dUUddeeii6oiiu5n 


The  Text  Types  of  the  <De  Vinne 
CENTUEY  EXPANDED 


[HIS  CENTURY  EXPANDED  FACE  was  planned  to 
make  a  more  readable  type  than  the  thin  and  gray-faced 
old-style  letter  in  which  most  books  had  been  printed 
for  many  years.  The  thin  lines  of  this  Century  face 
were  made  of  a  perceptible  thickness,  the  serifs  were  shortened, 
and  the  body-marks  protracted  a  trifle.  To  secure  a  proper  relief  of 
white  space  within  each  character,  the  round  letters  were  made  a  little 
taller.  To  proportion  the  type  for  a  large  page  in  two  columns  and 
with  narrow  margins,  and  to  give  the  usual  amount  of  reading-matter 
in  a  small  space,  the  characters  were  compressed  a  trifle.  The  lower- 
case alphabet  of  a  modernized  old-style  on  long-primer  body,  previously 
used,  was  below  the  standard  of  measurement  fixed  by  the  Typographi- 
cal Union,  for  it  had  round  letters  that  were 

Measurement  in  12-pt.  ems  remarkably  low  as  to  height.  The  lower-case 
CAPITALS  151  alphabet  of  this  style  is  equally  thin,  per- 

mitting as  many  letters  to  the  line,  but  the 

bMALL  CAPITALS  .11 

round  letters  are  taller  and  more  distinct. 
Lower-case     .     .   10^4 

~  The  changes  from  old  standards,  pur- 

posely made  by  the  designer,  were  not  of 
Lower-case      .     .     9*4  .  .  ,,, 

,  ft*..  ^    -       ,._,.._      great  importance,  but  most  of  them  were  m 

LJgN       AEI  directions  that  had  been  usually  avoided  by 

aaaaaeeeeiiiiooootiuusn     type-makers.    The  thickened  lines  enabled 
AEIOUQN  daddewUgn     the  pressman  to  produce  print  that  is  really 
1234567890  iJiiff !J§     black  and  not  apparently  gray,  as  was  un- 
avoidable in  presswork  on  small  sizes  of 

modernized  old-style.  This  face  was  modeled  and  cut  by  Mr.  L.  B. 
Benton,  and  is  made  on  two  bodies  by  the  American  Type  Founders 
Company.  For  long  lines  of  poetry  printed  in  duodecimo  or  in  any 
smaller  form,  as  well  as  for  all  compact  composition  set  in  a  narrow 
measure,  this  style  of  face  is  properly  adapted.  It  will  prevent  the 
unpleasing  turning-over  of  a  short  word  or  of  a  single  syllable  in  a 
following  line,  which  mars  the  general  effect  of  composition. 

THESE  ARE  THE  SMALL  CAPITALS,  which  are  a  trifle  higher  than  the 
round  letters  of  the  lower-case,  and  these  the  italic  characters  of  the  font. 

Of  this  font  we  have  two  pairs  of  cases  for  roman,  one  pair  for  italic, 
and  two  cases  for  accents. 

10-point.     A.  T.  F.  Co. 

232 


The  Text  Types  of  the  <De  Vinne 

CENTURY  BBOAD-FACE 

I  HE  CENTURY  BROAD-FACE  was  made  by  the 
De  Vinne  Press  for  service  on  books  to  be  set 
in  a  broad  measure,  which  do  not  require  a 
compression  of  letters  for  the  saving  of  space. 
It  retains  the  thickened  hair-line,  the  short 
serif,  and  all  the  characters  of  the  face  de- 
scribed on  the  previous  page.  The  purpose  of  the  designer  was 
to  give  each  letter  a  larger  face  than  is  usual  in  text  types  of 
this  body,  with  as  much  boldness  of  line  as  would  be  consistent 
with  the  greatest  legibility.  This  desired  largeness  with  bold- 
ness has  been  carried  to  its  fullest  extreme.  It  is  a  readable 
letter  when  it  is  set  solid,  but  it  is  much  more  readable  when 
the  lines  have  been  separated  by  a  thin 

lead.     A  twelve-to-pica  lead  gives  this      Measurement  in  12-pt.  ems 
body  the  boldness  of  11-point.  CAPITA!  <*  15 

Types  are  not  made  more  readable  by     gMALL  ^^      ^ 
giving  them  larger  and  blacker  faces,     y 

The  attractiveness  of  a  very  black-faced 

,.  ITALIC  CAPS    151*2 

type  when  used  in  one  line  or  in  a  few 

lines  becomes  repelling  when  it  is  used     Italic  k**™*  10% 
in  a  mass.  A  page  of  fat-faced  type  com-     *  2  6  7 


pels  a  greater  strain  on  the  eye  than  a 

page  of  ordinary  book-type.    What  a     aaaaeeeeiiiioooouucn 

reader  needs  for  a  pleasurable  reading     dddaeeeeiiiidddduti'dgn 

is  the  instant  visibility  of  every  stroke 

in  every  letter,  but  this  visibility  is  dimmed  when  the  types 

have  too  much  black.    The  strength  of  the  black  is  weakened 

when  its  relief  of  white  space  is  diminished. 

THESE  ARE  THE  SMALL  CAPITALS,  which  are  a  trifle  higher 
wider,  and  bolder  than  those  of  the  series  on  the  previous  page. 
These  small  capitals  can  be  used  for  sub-headings  where  those  of 
ordinary  form  have  proved  indistinct  and  unsatisfactory.  These 
are  the  italic  characters  of  this  font.  The  lower-case  alphabet 
of  this  face  slightly  exceeds  the  standard  of  measurement  fixed 
by  the  Typographical  Union.  It  is  as  readable  as  some  broader 
faces,  and  it  takes  in  more  words  to  the  line. 

Of  this  font  we  have  six  pairs  of  cases  and  one  job  case  for 
roman,  one  job  case  for  italic,  and  one  case  for  accents. 

10-point  Century  No.  2.     A.  T.  F.  Co. 

233 


The  Text  Types  of  the  ^De  Vinne  <Press 
CENTURY  EXPANDED 

LINES  OF  RAZOR  EDGE 
are  justly  admired  in  prints 
from  copperplate,  but  they 
cannot  be  produced  so  neatly 
by  engravers  on  wood.  They 
will  thicken  under  pressure. 

Capitals  36    Lower-case  26 
24-point.     A.  T.  F.  Co. 

Deceptive  Proofs 

IRTISTS  OF  EMINENCE  used  to  draw  and  paint  on 
blocks  of  boxwood  with  the  minuteness  of  minia- 
tures on  ivory.  With  wonderful  ingenuity,  en- 
gravers on  wood  cut  on  the  blocks  so  prepared  sharp  and 
slender  lines  intended  to  reproduce  fairly  every  suggestion 
of  light  and  shade  made  by  the  designer.  From  the  block 
so  engraved,  a  proof  upon  transparent  China  paper  was 

cautiously  taken  by  rubbing  the 

Measurement  in  12-point  ems       back  of  thig  paper  ^^  an  iyory 

CAPITALS  ....  i634     burnisher.    With  full  light  over 

SMALL  CAPITALS  .  i234     the  print  gj^e,  and  reflected  light 

Lower-case  ....  12        radiating  through  from  the  un- 

1234567890       printed  side,  the  proof  might  show 

a  clever  imitation  of  copperplate 

delicacy.  The  proof  was  admirable,  but  it  was  not  printing. 
The  reproduction  of  the  effects  in  this  sophisticated  proof 
by  the  hand  printing-press  was  slow,  expensive,  and  in 
most  instances  absolutely  impossible.  C.  One  job  case. 

ll-point.     A.  T.  F.  Co. 

234 


The  Text  Types  of  the  ^eVinne  '•Press 
CENTURY  EXPANDED 

YPE- PRINTING 

was  turned  aside  in 
a  wrong  path  by  the 
Revival  of  Engraving 
on  Wood,  when  it  tried 
to  rival  Copperplate. 

Capitals  44*2    Lower-ease  32 
30-point.     A.  T.  F.  Co. 

EARLY  DESIGNERS  and  engravers  on  wood  pre- 
sented subjects  for  illustration  in  outline,  with 
but  occasional  attempts  at  the  conventional  treatment 
of  light  and  shade.  Diirer's  "Little  Passion"  and 
Holbein's  "Dance  of  Death"  are  fair  exhibits  of 
this  simplicity  of  treatment. 

These  great  artists  fully  Un-         Measurement  in  12-point  ems 

derstood  the  difficulties  of     CAPITALS  .    .  18% 
engraving  on  plank  wood,      SMALL  CAPITALS  is 
the  roughness  of  hand-made     Lower-case    .    .  1423 
paper,  the  weakness  of  the  old      1234567890 
hand-press,  and  the  troubles 

of  the  hand-pressman  who  tried  to  reconcile  these 
incompatibles.  With  good  sense  and  kindly  feeling 
they  refrained  from  refinements  in  design  that  they 
would  have  liked ;  they  really  tried  to  abridge  useless 
labor  by  the  pressman  who  printed  the  blocks. 

12-point.     A.  T.  F.  Co. 

235 


The  Text  Types  of  the  <DeVinne  Press 

SCOTCH-ROMAN 

THIS  is  the  face  and  the  size  of  the  type  selected 
by  Messrs.  Charles  Scribner's  Sons  for  their  Ken- 
sington edition  (octavo)  of  Thackeray's  Novels,  Poems, 

and  other  work,  in  thirty-two 

Measurement  in  12-point  ems     volumes.       It  waS    also  used  by 

CAPITALS  .  2012  them  for  Miss  Hapgood'strans- 
SMALL  CAPITALS  i±  lation  of  the  Novels  and  Stories 
Lower-case  .  .  1212  of  Iv£n  Turgenieff  in  seven- 
ITALICCAPS  2113  teen  volumes,  in  large  octavo. 
Italic  lower-case  1234  The  typographical  appearance 
123456789  234567890  of  these  limited  editions  was 

commended  by  discerning  book 

reviewers  as  entirely  satisfactory  and  as  a  wise  return 
to  the  simplicity  of  early  nineteenth- century  printing. 
Of  this  size  we  have  two  pairs  of  cases  for  roman,  and 
roman  and  italic  matrices  for  linotype  machines. 

12-point.     Fanner 

Books  are  not  made  for  show. 

BOOKS  are  written  to  be  read  and  read  easily,  without  discomfort 
or  annoyance.    The  conditions  of  printing  that  favor  easy  reading 
are  plain  types,  clear  print,  and  freedom  from  surprises.     Any  pecu- 
liarity in  the  letters  or  in  their  arrange- 
Measurement  in  12-point  ems      ment  ^  tumg  aside  ^  reader  from 

CAPITALS  .  .  .  1484  following  the  written  thought  is  a  sur- 
SMALL  CAPITALS  .  .  10  prise  and  an  annoyance.  It  was  not 
Lower-case  .  .  .10  for  a  study  of  the  caprices  of  a  designer 
ITALIC  CAPS  .  1634  Of  letters,  or  of  the  ingenuity  of  the 
Italic  lower-case  .  compositor  who  has  rearranged  types 

1234567890      1234567890      by  new  or  old  methods,  that  the  book 

was  bought.  The  reader  reads  for  in- 
formation or  for  amusement,  but  not  for  the  study  of  typographical 
eccentricities.  If  Of  this  size  we  have  two  pairs  of  cases  for  roman, 
and  roman  and  italic  matrices  for  linotype  machines. 

10-point.     Farmer 

236 


The  Text  Types  of  the  <DeVinne  Press 
SCOTCH-KOMAN 


Old-style  goes  out  of  use. 


DURING  the  latter  part  of  the  eighteenth 
century  indications  appeared  of  weari- 
ness with  the  old-style  type  that  had  been 
in  fashion  for  about  two  hundred  years.  It 
was  tolerated  and  accepted  when  from  the 
foundries  of  Caslon  or  Baskerville,  but  old- 
style  was  no  longer  admired  as  the  model  of 
good  form.  There  was  a  demand  for  change. 
Bodoni  of  Italy,  discarding  old  rules  and 
traditions,  began  to  design  types  on  a  new 
plan.  Didot  of  Paris  made  similar  experi- 
ments on  lines  that  were  entirely  his  own. 
Joseph  Jackson,  an  apprentice  of  the  first 
Caslon,  was  planning  a  new  face  of  type  of 
huge  size  for  the  Macklin  Bible  in  seven  vol- 
umes of  large  folio,  and  the  leading  printer 
of  London  said  when  it  was  published,  that 
the  Jackson  type  was  "  a  pattern  of  the  most 
perfect  symmetry  to  which  the  art  had  ar- 
rived." Robert  Thorne  of  London  was  also 

6-point. 


Measurement  in  12-pt.  ems 


devising  his  fat-face,  which  had  admirers 
for  many  years.  Joseph  and  Edmund  Fry 
of  Bristol,  William  Martin,  the  successor 
to  Baskerville,  and  Thomas  Cottrell,  an 
apprentice 
of  Caslon, 
were  break- 
ing away  CAPITALS 10^3 

from  staled    SMALL  CAPITALS     ...       8 

Lower-case 784 

ITALIC  CAPITALS    .    11 
Italic  lower-case  .    .    .       7% 
1234567890     12SU567890 


models,  and 

struggling, 

each  in  his 

own  mode, 

to  put  more 

breadth   to 

letters  and  more  readability  to  print.  All  the 

experimenters  avoided  thinness,  stiff  curves, 

and  the  general  angularity  of  the  old-style. 

Of  this  size  we  have  three  pairs  and  one  job 

case  for  roman,  and  one  job  case  for  italic. 

Farmer 


About  the  long  f. 


SCOTCH  type-founders  soon  joined 
the  seekers  for  change,  and  this 
Scotch-Roman,  as  it  is  now  called,  was 
a  contribution  to  novelty  made  for  and 
first  used  by  the  Ballantyne  Printing 
House  of  Edinburgh,  in  the  first  de- 
cade of  the  nineteenth  century.  Its 
most  striking  peculiarity  to  the  inex- 
pert is  the  greater  breadth  and  open- 
ness of  the  letters  without  appearance 
of  undue  obesity.  It  has  no  eccen- 
tricity save  the  almost  unnoticeable 
flat  top  to  the  lower-case  t.  The  merit 
of  this  new  face  was  undeniable.  There 
was  a  clearness  and  roundness  about 
every  character  not  shown  by  any 
founder  who  adhered  to  the  old-style 
traditions.  The  new  style  had  to  run 
the  gauntlet  of  prejudice.  There  were 
publishers  and  readers  who  regarded 

8-point. 


the  long  f,  the  connected  ft,  and  other 
conjoined  letters  that  had  been  pre- 
served for  centuries,  as  indispensable 
attachments  to  type.  Especially  sa- 
cred was  the  very  tall  f.  An  English 
bishop  de- 
clined to  Measurement  in  12-pt.  ems 

acceptthe  CAPITALS  .     . 

reprinted   SMALL  CAPITALS  . 

copies    of  Lower-case    .. 

an  edition  ITALIC  CAPS 

of  a  book  naiic  lower-case  . 

in  request   1234567890  1234567890 

he  had  or- 

dered from  a  London  printer  who, 

following  the  new  custom,  had  used 

the  short  s  only.     He  said  it  was  not 

correct  without  the  long  /.    C.  Q/"  this 

face  we  have  one  pair  and  one  job  case 

for  roman,  and  one  job  case  for  italic. 

Farmer 


834 
3% 

8*4 


237 


The  Text  Types  of  the  <De  Vinne  Press 
SCOTCH-KOMAN 

A  FAULT  OF  ENGLISH  PRINTING 
about  the  close  of  the  eighteenth  century 
was  the  grayness  of  the  ink  and  the  feebleness 
of  the  print.  Instead  of  using  blacker  ink  and 
finer  paper,  which  would  compel  increased  ex- 
pense, or  of  making  ready  the  forms  of  type 
with  more  care,  the  remedy  for  feeble  printing 
was  sought  in  a  type  of  blacker  face.  It  was 
then  believed  that  a  broad -faced  letter,  that 
might  hold  and  transfer  to  paper  a  larger  supply 

of  ink,  would  effectu- 

Measurement  in  12-point  ems  , ,  ,  i        /•       i 

ally  prevent  the  fault. 

CAPITALS  ...  24^  To  meet  this  demand, 
Lower-case  ....  i5i4  Robert  Thorne,  the 
ITALIC  CAPS  27  type-founder  of  Lon- 
Italic  lower-case  .  ie  don,  in  1803  gave  up 
12345678907 234567 89  his  work  on  an  ad- 
mirable series  of  old- 
style  type  just  cut  by  him,  and  not  much,  if 
any,  inferior  to  the  types  of  the  first  Caslon, 
and  introduced  instead  an  exaggeration  of  the 
over- widened  thick  strokes  of  the  Didot  type. 
Though  condemned  by  the  best  printers  of  the 
time,  this  fat-faced  type,  as  it  is  now  phrased, 
was  much  admired  by  the  public  and  was  freely 
used  in  books.  If  Of  this  font  we  have  one 
case,  one  capital  case,  and  one  sort  case  for 
roman,  and  one  job  case  for  italic. 

14-point.     Farmer 

238 


The  Text  Types  of  the  ^DeVinne  *Press 
SCOTCH-ROMAN 

UT  OF  VOGUE 

In  1845  the  Scotch 
Roman  was  put  aside 

Capitals  49*2    Lower-case  303^ 
30-point.    Farmer.    One  job  case 

OMAR  KHAYYAM 

THE  VARIORUM  and  Definitive  Edition  of  the  Poetical  and 
Prose  Writings  of  EDWARD  FITZGERALD,  including  a  complete 

Bibliography  and  Interesting  Personal 

j  T  ..  vr    .  x-i  11      ,    i         T  Measurement  in  12-pt.  ems 

and  Literary  Notes.     Collected  and  ar- 
ranged by  GEORGE  BENTHAM,  with  an      CAPITALS.     .    I6i4 

T    .        ,       ,  .         v      -r.  /-.  •  SMALL  CAPITALS   .     lQ2o 

Introduction  by  EDMUND  GOSSE,  in  seven      T 

*  Lower-case    .     .    lo^ 

volumes,  super  royal  octavo.    Composed      ITALIC  CAPS    1684 

and  printed  at  the  De  Vmne  Press,  and      Italic  lower-case    11 
published  by  Doubleday,  Page  #  Co.  of      12345678  234567890 
New  York,  m  the  year  1902.   €LOf  this 

size  we  have  one  pair  of  cases  for  roman,  as  well  as  roman  and 
italic  matrices  for  linotype  machines. 

11-point.     Farmer 

RUBAIYAT 

THIS  EDITION  of  Fitzgerald, 
composed  with  several  sizes  of 
Scotch-Roman,  with  proper  accents 
and  accompanying  italic,  met  with 
marked  favor  for  its  typography. 

Capitals  31.^3     Lower-case  lO^ 
18-point.     Farmer.     One  job  case 

239 


The  Text  Types  of  the  <De  Vinne  Press 
SCOTCH-ROMAN 

PRINTING 

Capitals  62 
36-point.     Farmer 

is  very  much 
indebted  to 

Lower-case  25*3 
24-point.    Fanner 

SCOTLAND 


Capitals  82 
48-point.    Farmer 


for  the  exact  work 
of  many  of  its  able 

24-point.     Farmer 

DESIGNERS  AND 
PUNCH-CUTTERS 


Capitals  4113 
24-point.     Fanner 

240 


The  Text  Types  of  the  ^De  Vinne  'Press 
NEW  CASLON 

Inland  Type  Foundry 

ASLON  Type  of  the  Old 
Shape,  but  of  a  New  Gut 
and  of  much  Bolder  Face, 
recently  has  been  provided  in  a 
series  of  Capitals  and  Lower-case 
for  five  sizes  from  6-  to  18-point 

Capitals  3234  18-point  Lower-case  21!3 

Small  Font 

Fourteen-point  of  the  New  Caslon  has  an 
unusual  breadth  of  stem  or  thick  stroke. 
In  presswork  with  red  or  colored  ink  it 
will  show  the  lighter  color  in  a  more  pleas- 
ing manner  than  is  possible  from  any  of 
the  light-faced  Roman  types. 

Capitals  2534  14-point  Lower-case  IG1^ 

Small  Font 

Peculiarities  of  Gaslon  Style 

The  peculiarities  of  the  old  Gaslon  style,  as  shown 
on  pages  179  to  191,  may  need  a  little  explanation. 
Note  the  breadth  of  the  thick  strokes  of  each  letter 
and  their  protraction  before  they  change  to  a  hair- 
line or  connect  with  another  stem,  as  may  be  plainly 
seen  in  the  arch  of  the  m  and  n,  and  the  curve  of 
the  c,  e,  and  o.  The  hair-lines  are  firmer,  although 
shorter,  than  in  modern-cut,  and  the  serifs  at  the 
foot  are  shorter  and  stronger,  but  seldom  bracketed ; 
the  serifs  at  the  top,  as  in  the  1,  d,  p,  h,  are  angled 
and  strongly  bracketed. 

Capitals  21i<j  12-point  Lower-case 

241 


The  Text  Types  of  the  ^DeVinne  Press 
NEW  CASLON 

Inland  Type  Foundry 

Peculiarities  of  Modern-face 

The  defects  of  the  Old  Gaslon  style  are :  too  long  a  beak  to 
the  f  and  j ;  unnecessary  narrowness  in  the  s  and  a,  and  in 
some  capitals ;  too  great  width  of  the  G,  O,  and  V.  But 
these  are  trifles.  In  general  effect  the  Gaslon  is  bold  but 
not  black,  clear  and  open  but  not  weak  nor  delicate.  It  was 
made  to  be  read  and  to  withstand  wear.  Variations  in  style 
may  be  detected  in  a  comparison  of  different  sizes  of  this 
cut,  but  it  is  fairly  uniform  as  to  general  effect  throughout 
the  series.  The  modern-face  is  in  strong  contrast  to  the 
Gaslon  style.  The  stems  are  sometimes  relatively  thicker, 
but  in  all  curved  lines  are  shorter.  The  serifs  are  much  longer ; 
in  many  of  the  capitals  they  are  strongly,  but  feebly,  connected 
and  are  sharper. 

Capitals  181s  10-point  Lower-case  1184 

Italic  capitals  IGig  Italic  lower-case  1013 


Space  Occupied  by  Type 

One  pound  of  metal  type,  as  packed  and  sold  by  type-founders,  covers  a 
space  of  about  three  and  six  tenths  square  inches.  To  find  the  weight  of  one 
page  of  type  composed  in  high  spaces,  divide  its  number  of  square  inches  by 
the  figures  3.6.  To  find  the  weight  of  a  font  for  a  given  number  of  pages,  pro- 
vision must  be  made  for  a  large  surplus.  The  proportion  of  this  surplus  is 
variable.  For  a  small  font,  the  type-founder's  rule  is  to  add  one  half  to  the 
computed  weight  of  the  composed  types.  For  a  font  of  two  thousand  pounds 
or  more,  this  surplus  need  not  be  relatively  as  great ;  an  addition  of  one 
fourth  to  the  weight  of  the  composed  matter  may  be  enough.  All  calculations 
of  this  kind  are  but  guesses.  No  printer  or  type-founder  can  exactly  foresee 
how  unequally  copy  yet  to  be  written  will  exhaust  sorts.  For  all  work  that 
has  to  be  done  in  haste,  for  newspapers  and  magazines  that  have  to  keep  in 
type  postponed  articles  or  alternated  advertisements,  a  font  of  twice  or  thrice 
the  weight  of  the  composed  matter  will  not  be  enough.  On  newspapers  it 
was  customary  to  allow  three,  six,  and  sometimes  ten  days'  supply  of  type 
to  each  compositor.  Quadrats  are  the  sorts  most  frequently  deficient  in  the 
ordinary  font  when  it  is  applied  to  general  bookwork.  Next  in  liability  to 
excessive  demand  are  figures,  which  are  soon  exhausted  by  a  series  of  tables. 
Every  large  book  or  newspaper  office  doubles,  and  sometimes  quadruples,  the 
amount  apportioned  to  some  characters  of  the  scheme. 

Capitals  14  8-point  Lower-case  9 

242 


The  Text  Types  of  the  ^eVinne  'Press 
CLASSIC 

SUPERFICIAL  READER  may  think  that  we 
have  already  enough  of  Old-style  faces  in  print- 
ing type.  This  is  a  hasty  judgment.  The  uneasy 
feeling  that  continually  demands  something  en- 
tirely different  has  induced  the  making  of  this  new  face, 
which  has  recently  appeared  in  Germany,  and  is  there 
known  as  Romische,  in  some  foundries  as  Renaissance, 
and  in  the  United  States  as  Classic.  It  is  the  outcome 
of  the  never-ending  attempt  to  get  as  many  letters  in  a 
line  as  is  possible  with  reada- 
bility and  Without  Undue  thick-  Measurement  in  12-point  ems 

ening  of  the  stems  of  the  type.  CAPITALS  .  .  1913 
There  seems  to  be  no  other  Lower-case  ...  1213 
face  of  type  in  which  these  con-  ITALIC  CAPS .  1823 
trary  conditions  are  more  com-  Italic  lower-case  12% 
pletely  united.  It  is  readable,  12345678  34567890 
but  not  too  bold.  Round  let-  A£OO£aaa<5ei66uu£ 
ters  are  almost  as  tall  as  those  AEOUf  daeeiioouuQ 
of  the  Cadmus  face,  but  the 

capitals  have  more  distinction.  Each  letter  is  com- 
pressed, but  a  satisfactory  amount  of  white  space  has 
been  left  between  interior  lines.  Serifs  are  short,  hair- 
lines are  firm,  and  the  new  face  promises  a  durable  letter. 
This  Classic  face  was  first  used  by  the  De  Vinne  Press 
for  the  printing  in  Greek  and  Roman  of  an  edition  of 
THEOCRITUS,  BION,  and  MOSCHUS  for  the  Bibliophile 
Society  of  Boston. 

This  face  on  12-point  body  is  frequently  selected  in 
preference  to  Caslon  Old-style  on  14-point  body  as 
more  compressed  but  equally  readable.  C  Of  this  font 
we  have  one  job  case  for  roman  and  one  job  case  for 
italic,  and  matrices  for  the  linotype  machines. 

12-point.     Genzsch  &  Heyse 

243 


The  Text  Types  of  the  <DeVinne  'Press 


Measurement  in  12-point  ems 


CLASSIC 


OVELTIES  have  to  be  considered  by  the  publisher  who  wants 
to  make  a  new  book  attractive.  There  are  new  fashions  in 
paper  and  binding,  new  methods  of  engraving,  new  processes 
for  printing  in  black  and  colors,  new  arrangements  of  pages, 
and  new  styles  of  printing  types.  The  types  that  fill  the  page 
and  receive  closest  scrutiny  seem  to  be  of  most  importance. 
This  is  the  publisher's  reasoning;  if  the  new  book  can  be  printed  in 
a  face  of  letter  not  used  by  any  rival,  its  pages  should  be  invested 
with  a  charm  that  will  command  respectful  attention. 
This  survey  of  possibilities  with  types  invites  to  dangerous  ground 
full  of  pitfalls.  Pleasing  types  are  not  always  proper  types.  A 
book  on  an  ecclesiastical  or  medieval  subject  may  be  wisely  set  in 
an  acceptable  form  of  black-letter,  an  early  Italian  book  in  italic, 
the  plays  and  poems  of  the  Puritan  century  in  an  imitation  of  the 
types  and  styles  of  its  time,  but  at  or  about  a  certain  point  not 
easily  defined  tolerance  stops.  The  black-letter  must  be  of  a  face 

sanctioned  by  steady  usage ;  modern 
variations  admirably  designed  are  dis- 
liked by  book-lovers.  Readers  and 
reviewers  are  critical.  Types  of  old 
time,  attractive  enough  in  books  of 
that  time,  are  not  so  attractive  in  mod- 
ern books  on  modern  subjects.  The 
ordinary  reader  who  is  also  a  book- 
buyer  has  the  belief  that  the  dress  of 
the  book,  as  of  the  man,  should  be 
the  dress  of  to-day,  and  not  of  the 
fifteenth  or  seventeenth  century. 

Nor  does  tolerance  stop  at  the  re- 
vival of  old  fashions.  Ornamental  or  fantastic  forms  of  letter  that 
convey  the  peculiar  notions  of  the  writer  are  barred  out  of  book 
texts.  Even  the  autographic  lettering  of  an  artist  like  William 
Blake,  admired  by  his  disciples,  is  unacceptable  to  the  book-buyer. 
Pleasing  it  may  be  on  one  page  of  a  magazine,  but  it  will  make 
unsalable  the  book  filled  with  it.  To  be  acceptable  the  text  of  a 
modern  book  must  be  easily  readable.  Like  coins  of  money,  book 
letter  must  be  identified  at  first  glance.  Serious  variations  in  shape 
are  resented  as  attempts  on  the  part  of  the  designer  to  obtrude  his 
own  conceits  more  than  to  make  plain  the  subject-matter.  Want  of 
individuality  in  lettering  may  be  regretted,  but  features  of  uniform- 
ity disliked  by  the  artist  are  the  ones  that  make  print  attractive  to 
the  buyer.  CO/  this  font  we  have  one  job  case  for  roman  and  one 
job  case  for  italic.  We  have  matrices  for  this  face  on  the  linotype 
machines. 


CAPITALS    .     . 

Lower-case    .     . 

ITALIC  CAPS    . 

Italic  lower-case 

1 234567890 1234567890 

AEOOQ  aaaeefiooouuuug 

AE60Cddaeeeeiii6ddiiuiif 


10 
14 
912 


10-point  body  (9-point  face).     Genzsch  &  Heyse 

244 


The  Text  Types  of  the  <De  1)inne  "Press 
CLASSIC  ANTIQUE 

Genzsch  &  Heyse 

i  HEN  paper  and  vellum  were  scarce  there  was  need  of  economy  in  their  use,  but  there 
is  no  excuse  now  for  a  needless  huddling  together  of  types.  The  book-buyer  of  to-day 
does  not  accept  as  artistic  the  compact  treatment  in  a  modern  book.  He  may  call  it  penuri- 
ousness — the  saving  of  paper  and  presswork  to  the  damage  of  eyesight.  Yet  the  attempt  to  make  a 
book  inviting  with  plenty  of  white  space  between  single  letters 

of  lines  of  display,  between  the  lines  of  a  paragraph,  and,  worse        Measurement  in  12-pt.  ems 
than  all,  "  the  rivulet  of  type  in  a  meadow  of  margin,"  is  a        CAPITALS 
swing  of  the  pendulum  too  far  on  the  other  side.    The  buyerof  o 

a  book  wants  its  print  more  than  its  paper,  but  he  wants  its  wer-case 5^3 

print  readably  apportioned  upon  the  paper.  ITALIC  CAPITALS  .    .    .    9^ 

To  make  print  attractive  the  eye  of  a  reader  must  be  diverted  Italic  lower-case  ....  6^3 
and  relieved  from  the  dreary  monotony  of  a  solid  composition  1234567890  1234567890 
of  types  always  and  everywhere  the  same.  White  space  at  the  AEEEOOC.  aaaaeeeeniTooouuuuc 
ends  of  lines  of  poetry,  between  verses  of  the  Bible,  between  A£££OOC.ddaaeee'e'ilu6d6duuuii 
paragraphs  and  chapters,  and  full-blanks  or  half-blanks — all 

those  are  great  helps  to  easy  reading,  ready  reference,  and  a  better  understanding  of  the  subject- 
matter.  Early  printers  undervalued  these  aids.  How  the  modern  school-boy  would  rebel  over  a 
text-book  at  the  welding  together  in  solid,  unbroken  lines  of  the  declensions  and  conjugations  of 
words !  <J  Of  this  face  we  have  one  job  case  for  roman  and  one  job  case  for  italic. 

6-point 


HYPES  should  be  made  for  readers.  The  punch-cutter's  hair-line  that 
stops  just  before  invisibility  is  kept  indistinct  by  the  pressman  who 
scantily  inks  with  a  hard  roller,  and  then  with  the  feeblest  impres- 
sion impresses  types  against  an  inelastic  surface  on  dry  and  hard  calendered 
paper.  This  weak  and  misty  style  of  printing,  admired  by  some  printers  and 
publishers,  is  disliked  by  all  who  believe  that  types  should  be  made  for  the 
needs  of  the  reader  more  than  for  an  exhibition  of  the  skill  of  the  pressman 
or  type-founder,  fl  We  have  one  job  case  for  roman  and  one  job  case  for 
italic,  and  matrices  for  linotype  composition. 

Capitals  1284  8-point  Lower-case  834 

Italic  capitals  1234  Italic  lower-case  914 

DISTINCTNESS  is  always  of  the  greatest  importance. 
;  The  rights  of  readers  deserve  more  consideration. 
The  rules  that  editors  and  men  of  business  apply  to 
writing  should  be  applied  to  book-types.  The  hand- 
writing that  cannot  easily  be  read,  even  if  its  indi- 
vidual letters  have  been  most  daintily  and  scientifically  formed 
by  a  master  of  penmanship,  with  the  sharpest  of  hair-lines  and 
the  greatest  profusion  of  flourishes,  is  quite  as  intolerable  as 
that  which  is  slovenly  and  illegible.  No  printer  desires  it  for  his 
copy;  no  merchant  tolerates  it  in  his  account  books;  no  one 
wants  it  in  his  correspondence.  <J  Of  this  face  we  have  one 
job  case  for  roman  ana  one  job  case  for  italic. 

Capitals  IG^  10-point  body  (10-point  face)  Lower-case  11 

Italic  capitals  16  Italic  lower-case  11 

245 


The  Text  Types  of  the  <D0  Vinne  'Press 
CUSHINO 

From  American  Type  Founders  Co. 

THIS  GUSHING  TYPE  illustrates  fairly  one  of  many  attempts  to  improve  the  readability  of 

printing,  which  began  with  the  abolishment  of  the  RAZOR- 

Measurement  in  12-pt.  ems       EDGED  HAIR-LINE  that  has  been  so  damaging  to  the  legibil- 
ity of  type.     The  dazzling  effect  produced  by  this  hair-line 

CAPITALS IQig        on  page  137  of  the  French  Face  of  Didot  may  also  be  seen  in 

SMALL  CAPITALS  ....  ?34  other  forms  of  fat-faced  letter,  in  the  planning  of  which 
Lower-case.  •  .  .  .  .  Tig  designe  rs  have  thought  it  meritorious  to  enforce  the  strong- 
1TALIC  CAPITALS  .  .  .  934  est  possible  contrast  between  thick  and  thin  strokes.  <I  O/ 
Italic  lower-case  ....  bl^  this  face  we  have  one  pair  of  cases  for  roman  and  one  job  case 
6-point  for  itatic-  No  diphthongs. 

THIS  STYLE  HAS  BEEN  USED  for  the  compo- 
sition of  pages  in  advertising  pamphlets,  as  well  as  Measurement  in  12-pt.  ems 
for  extracts,  mottos,  and  similar  matter  IN  STAN-  CAPITALS  ... 
DARD   BOOKS.     In  mercantile  printing   its   small  SMALL  CAPITALS  ...       9 
capitals  are  of  service  for  the  presentation   of  Lower-case  ....       S 
names  that  have  to  be  set  in  column  form.   <J  Of  ITALIC  CAPITALS 
this  face  we  have  one  pair  of  cases  for  rowan  and  one  italic  lower-case  .     .     .      7^ 
job  case  for  italic.     No  diphthong's.  8-point 

GUSHING  CAPITALS  ON   15-POINT 

We  have  no  lower-case  of  this  font. 


ANOTHER  USEFUL  SERVICE  rendered  by  the  Gushing  will  be 
found  in  the  durability  of  lines  that  are  put  in  exposed  position,  as  in  the 

running  title  of  books  and  in  the  legend  lines 

Measurement  in  12-pt.  ems  .       ,  .  -,     , 

under  illustrations.     In  these  places,  Gush- 
ing will  continue  to  give  legible  impressions 

SMALL  CAPITALS     .     10i2      after  iong  servicewhere  ordinary  roman  capi- 
tals would  soon  be  worn  out.  <J  Of  this  size 
'  we  have  two  pairs  of  cases  for  roman  and  one 

Italic  lower-case    .       9        job  case  for  Mic.     No  dipMhongs. 
10-point 

GUSHING  produces  the  effect  of  monotony.  Every  line 
in  every  type  is  visible,  but  if  there  had  been  a  thicker 

Measurement  in  12-pt.  ems       Stroke  in  each  type  the  letter  WOUld 

CAPITALS  is  be  more  pleasing.  <I  Of  this  face 
SMALL  CAPS  isi*j  we  have  one  pair  of  cases  for  ro- 
Lower-case  .  12  man.  No  italic  or  diphthongs. 

12-point 

246 


The  Text  Types  of  the  ^De  Vinne  "Press 
LOUIS  XV 

(French  Antique) 

FIFTY  YEARS   AGO    ALL   BOOKS   AND    NEWSPAPERS    AND  MUCH  JOB  WORK 

Iff  i  w  ERE  printed  on  damp  paper,  and  the  process  of  wetting  it  down  compelled  extra  labor. 
I  I  I  After  printing  the  paper  was  dried  on  loft  poles  and  its  indents  flattened  out  by  a  hydraulic 
\,A^|  press.  When  calendering  machines  were  used  job  printers  discovered  that  the  labor  of 
^»  wetting  down  could  be  safely  omitted  for  paper  that  had  been  previously  smoothed  by  cold 
or  hot  pressure.  The  next  improved  process  was  the  substitution  of  a  hard  card  board  impression 
surface  in  place  of  the  elastic,  woolen  or  india  rubber  blanket  which  indented  the  paper.  These  im- 
provements were  helpful  enough,  for  the  neat  printing  of  types,  but  when  photo-engraving  was  fairly 
established,  a  printing  paper  smooth  as  polished  glass  or  plated  metal  was  needed.  This  smooth- 
ness enabled  the  pressman  to  show  hair-lines  with  all  the  delicacy  desired  by  the  engraver.  It  also 
enabled  the  pressman  to  print  the  surface  only  of  a  type  or  cut  without  an  over-lapping  of  impres- 
sion on  the  side  of  the  hair-line.  Improvement  of  the  presswork  of  engravings  proved  a  serious 
damage  to  the  types  of  letters,  for  a  strict  surface  impression  made  the  letters  appear  thinner  and 
feebler  than  had  been  intended  by  the  designer.  Ever  since  the  proper  appearance  of  type  has  been 
sacrificed  for  the  improvement  of  engraved  pictures. 

On  dry  paper  the  sharp  hair-line  and  narrowed  thick  stroke  were  unavoidably  made  not  so 
distinct  as  they  had  been  when  printed  upon  dampened  paper.  The  French  printers  who  had 
refined  and  sharpened  hair-line  for  many  years,  were  the  first  to  try  a  new  experiment  in  making 
small  types  more  readable.  They  could  not  or  would  not  give  up  the  dry  paper  process,  but  they 
did  thicken  the  lines  of  type  without  making  them  muddy  or  indistinct.  This  light-face  of  antique 
was  made  about  thirty  years  ago  to  the  ordsr  of  the  publisher  Quantin.  The  experiment  was  suc- 
cessful. Type  of  this  S-point  body  was  more  readable  than  a  6-  or  7-point  of  roman  face. 

Capitals  9  5-point  of  Turlot  Lower-case  7 


BODY  6  OF  THIS  FRENCH  FACE,  IN  CAPITAL  LETTERS  ONLY,  HAS  BEEN  USED 
WITH  THE  APPROVAL  OF  LITERARY  CRITICS  AS  A  TEXT  TYPE  TO  THE  ENTIRE 
NEGLECT  OF  LOWER-CASE  SORTS.  THIS  METHOD  WAS  NOT  ENTIRELY  NEW. 
IN  THE  YEAR  1791  BODONI  OF  PARMA  PRINTED  AN  EDITION  OF  "  ANACREON" 
IN  CAPITAL  LETTERS  ONLY,  AND  IT  WAS  MUCH  ADMIRED  BY  BIBLIOPHILES. 

Capitals  10^  6-point  of  Turlot 

A  STUDENT  OF  THIS  BOOK,  AND  OF  ALL  PLEASING  BOOKS  PRINTED  IN 
CAPITALS,  SHOULD  NOTE  THAT  THE  PRINTER  SEPARATES  THESE 
LINES  OF  CAPITALS  WITH  WIDE  BLANKS  WHICH  ARE  REALLY 
NECESSARY  TO  GIVE  PROPER  LEGIBILITY  TO  THE  PRINT.  THE 
HUDDLING  OF  LINES  OF  CAPITAL  LETTERS  AS  APPROVED  BY 
WILLIAM  MORRIS  AND  OTHER  AMATEURS  IS  NOT  RECOMMENDED. 

Capitals  12  7-point  of  Turlot 

THE  DE  VINNE  PRESS  HAS  PRINTED  THE  DESCRIPTIVE  TEXT 

OF  ROBERT   HOE'S   "EXAMPLES  OF  BOOKBINDING"   IN  TWO 

VOLUMES  LARGE  QUARTO,  ENTIRELY  IN  THE  CAPITALS  OF 

THIS  BODY.     CAPITAL  LETTERS  ONLY,  BUT  OF  THE  ELZEVIR 

STYLE,  WERE   ALSO   USED  BY  MESSRS.  DODD,   MEAD   &  CO. 

IN   1886,   FOR    AN    EDITION    OF    "THE    BLESSED    DAMOZEL " 

OF  ROSSETTI,  WITH  ILLUSTRATIONS  BY  KENYON  COX. 

Capitals  131^  8-point  of  Turlot 

247 


The  Text  Types  of  the  *De  Vinne  '•Press 
ENGRAVERS'  HAIR-LINE  No.  644 

THERE  IS  A  GENERAL  BELIEF  THAT  TYPES 
are  made  to  be  read,  and  to  be  read  without  discomfort.  This  face 
seems  to  have  been  cut  to  demonstrate  the  skill  of  the  punch-cutter,  who 
has  done  his  work  admirably  and  thoroughly.  Capitals,  Small  Capitals, 
Lower-case  and  Figures  are  symmetrical  and  harmonious  in  all  combina- 
tions. It  was  once  largely  used  for  the  legend  or  descriptive  lines  on 
the  tissue  paper  that  faced  full-page  cuts,  but  is  now  out  of  favor.  Never 
select  it  for  Programmes,  or  any  form  of  Ceremonial  Printing  that  must 
be  read  by  artificial  light.  HAVE  RESPECT  FOR  THE  EYESIGHT  OP  PEOPLE 
WHO  USE  SPECTACLES  lg§4567890. 

10-point 
Capitals  14*3  Small  capitals  9i<2  Lower-ease  O1^ 


FRENCH  OLD-STYLE 

Turlot 

RENCH  OLD-STYLE  of  modern  design  shows 
thinner  and  sharper  lines  than  the  English  and 
American   Modernized  Old-Styles.     Its  gen- 
eral effect  is    that    of  unusual    lightness  and 
delicacy,  with  peculiar  features  of  quaintness.      Its  Italic 

Capitals  fit  close  and  combine 

CAPITALS  .  .  .  is^  neatly,  showing  few  awkward 
SMALL  CAPITALS  .  .  13  gaps  when  angular  lines  meet 
Lower-case  ....  1112  with  vertical  lines.  The  Italic 
ITALIC  CAPITALS,  is^  lower-case  of  this  French 
Italic  lower-case .  .  .  n  No.  1 1  face  is  unusually 
1234567890  1234567890  condensed,  with  some  pe- 
EEE£Efc£caaeei6uuc  culiarities  that  are  pleasing 
£E£<fadeee'i6uaucn  to  many  readers.  The  font 

is  small  and  can  be  selected 

to  most  advantage  for  mottoes  and  quotations  from  French 
translations.  CJ  Of  this  face  we  have  one  pair  of  cases  for 
roman  and  one  job  case  for  italic. 

Body  11 

248 


The  Text  Types  of  the  ^eVinne  'Press 
CELTIC   OF   CAPITALS   ONLY 

From  foundries  of  Farmer  and  A.  T.  F.  Co. 


A  SIZE  AND  STYLE  OF  CAPITAL  MUCH  LIKED  FOR  ITS  ROUNDNESS 
AND  CLEARNESS;  IS  OFTEN  PREFERRED  TO  THE  SMALL  CAPITALS 
OF  ROMAN,  AND  EVEN  TO  THE  LIGHTER  FACES  OF  ANTIQUE  AND 
GOTHIC,  FOR  LISTS  OF  NAMES  IN  COLUMNS  OF  JOB  COMPOSITION 

Capitals  1134  6-point,  old  body,  No.  2 


A  PLEASING  LETTER  FOR  MODEST  SUBHEADINGS 
THAT  HAVE  ABUNDANT  RELIEF  OF  WHITE  SPACE 
ALSO  FOR  TITLES  ON  THE  BACKS  OF  BOOKS. 

Capitals  15^  7-point,  old  body 


THIS  FONT  OF  CELTIC  IS  PROVIDED  WITH 
BADLY  MATED  SMALL  CAPITALS  ON  THE 
SAME  BODY.  THE  TWO  FORMS  CAN  BE  USED  TOGETHER 
OR  APART,  AS  is  SHOWN  IN  THIS  SENTENCE. 

Capitals  19  8-point,  old  body  Small  capitals 


THIS  FONT  ALSO  HAS  ITS  MATE  IN 
A  SERIES  OF  SMALL  CAPITALS  THAT 
INCREASES  ITS  USEFULNESS.  THESE 
SMALL  CAPITALS  ARE  VERY  CLEAR,  AND  IN 
SOME  JOBS  ARE  BETTER  THAN  ROMAN. 

Capitals  2234  10-point,  old  body  Small  capitals  17 


SOMETIMES  THIS  IS  SELECTED 

Capitals  28*2  12-point,  old  body 

FOR  TITLE-PAGE  TYPE 

Capitals  38  18-point,  old  body 

249 


The  Text  Types  of  the  ^De  Vinne  Press 
CELTIC  No.  642 

CELTIC    IS    A    FORM    OF    EXPANDED    TYPE 

In  which  the  thin  stroke  has  been  made  of  visible  thickness  to 
give  it  greater  clearness.  It  has  some  peculiarities  that  make 
exact  classification  difficult,  for  it  is  as  near  akin  to  antique  as  it 
is  to  roman.  «J  Of  this  font  we  have  two  job  cases  for  roman  and 
one  sort  case  for  capitals.  No  small  capitals,  no  italic. 

Capitals  14  6-point,  old  body.     Bruce  Lower-case 


ITS    GREATER    BREADTH    AND    FIRMNESS 

of  line  make  it  a  plain  and  readable  letter,  useful  for 
running  titles  in  pamphlets  and  for  all  short  lines  of 
display,  but  it  is  now  somewhat  neglected  by  adver- 
tisers for  new  styles  that  are  really  inferior  in  design 
and  in  general  effect.  <|Of  this  font  we  have  one  job 
case  only.  No  small  capitals,  no  italic. 

Capitals  17%  8-point,  old  body.    Bruce  Lower-case  12  34 


THIS  SIZE   OF   BREVIER   CELTIC 

is  a  bit  lighter  in  face  than  the  one  of  same  body  from  the 
Bruce  Foundry,  and  modeled  with  equal  care.  It  may 
be  used  with  good  effect  for  mottos  or  extracts  requiring 
a  distinct  shape  of  letter  that  is  not  very  black  and  bold. 
€1  Of  this  face  and  body  we  have  one  job  case  only.  No 
small  capitals,  no  italic. 
Capitals  17  8-point,  old  body.  Farmer  Lower-case  1214 


FIGURES  AND   DOUBLE    LETTERS 

are  furnished  to  all  the  fonts  with  lower-case,  but 
none  have  accents.  Celtic  is  frequently  selected 
by  buyers  of  printing  who  want  a  bold  and  broad 
face  of  type  that  will  withstand  the  hard  usage 
of  printing  a  long  edition  on  a  cylinder  machine. 
<I  Of  this  font  we  have  one  job  ease.  No  small 
capitals,  no  italic. 

Capitals  22  10-point,  old  body.     Bruce  Lower-case 

250 


The  Text  Types  of  the  T>e  Vinne  'Press 
CELTIC 

THESE    CAPITAL   LETTERS 

May  be  used  in  the  combinations  of  com- 
position with  another  form  of  Celtic  that 
has  no  lower-ease,  and  that  is  frequently 
preferred  by  advertisers  to  roman  letter. 
Figures  are  large,  of  full  height  and  width, 
and  mate  well  with  the  capitals.  <I  Of  this 
font  we  have  one  job  ease  only.  No  small 
capitals,  no  italic. 

Capitals  2434  12-point,  old  body,  No.  642.   Bruce       Lower-case  17 

ITS  LOWER-CASE 
In  larger  sizes  not  so  pleasing 

Capitals  36  18-point,  old  body,  No.  642.    Bruce       Lower-case  24 

HAS  BOLDER  FACE 

Capitals  44^4  18-point,  old  body.     A.  T.  F.  Co.  No  lower-case 

READILY  READ 

Capitals  56  24-point,  old  body.    A.  T.  F.  Co.  No  lower-case 


SIMPLICITY 

Capitals  6614  28-point,  old  body.     A.  T.  F.  Co.  No  lower-case 

IN  LINE 

Capitals  9834  40-point,  old  body.    A.  T.  F.  Co.  No  lower-case 

251 


The  Text  Types  of  the  <De  Vinne  'Press 
CELTIC  OF  CAPITALS  ONLY 

From  American  Type  Founders  Co. 

MUCH  TOO  THIN 

Capitals  50  24-point,  old  body 

FOR  A  TITLE 


Capitals  6314  28-point,  old  body 


CELTIC  SHADED 


Capitals  22  •  28-poiut,  old  body 

ENGRAVERS'  ROMAN 

American  Type  Founders  Co. 

THIS   WIDE  FACE   OF  ROMAN 

CAPITALS   IS   OF   GOOD   FORM  AND    MAY   BE 
USED   WITH    REGULAR   ROMAN    CAP- 
ITALS  OR   TWO-LINE   LETTER 

Capitals  19  8-point 

TYPEWRITER 

Farmer 

Is  intended  to  delude  the  reader  of  a 
printed  Circular  to  the  belief  that  each 
letter  was  really  thumped  out  on  the 
typewriting  machine,  and  not  printed  from 
composed  types  on  the  printing-press.  All 
the  letters,  capitals  and  lower-case,  are 
cast  on  the  same  width  of  body.   The 
lower-case  1  is  as  wide  as  the  M. 

Capitals  15  12-poiut  Lower-case  15 

252 


The  Text  Types  of  the  <De  Vinne  'Press 
ENGRAVERS'  ROMAN 

From  the  American  Type  Founders  Co. 

Has  three  distinct  sizes  of  Capital  Letters,  made  to  line  one  with  another,  but 

all  are  cast  on  6-point  body.   Each  size  can  be  used  independently, 

or  any  two  sizes  can  be  connected  as  capitals  and 

small  capitals.    All  the  sizes  have  figures. 


1 

2 
3 


IB   ALMOST    MICROSCOPIC    IN    ITS    SMALJ.NISS.       IT    IS    >'i:t:I;SSA  R  1 1.  Y   FRAIL, 

IS    NOT    EASILY    KKAIJ,    AND    SHOULD    BE    SK1>1S» -L  !•,£>    WITH    DISCRETION  6133 S 


THIS  NO.  2  SIZE}  IS  WIDER  AND  MORE  KEADAI5LK,  BUT 

SMALLER  THAN  OLDER  STYLES  OF    EXPANDED  6mS 


IS  OF  ABOUT   SAME  HEIGHT  AS  THE  PEARL 
EXPANDED  OF  BRUCE,  BUT  NOT  SO  WIDE  ems 


THESE    SIZES  OF  SMALL  ROMAN    CAPITALS  ARK 

CAREFUL      IMITATIONS     Of    THE     FORMS     MADE     BY 

ENGRAVERS  ON  COPPER  FOR  CARD  TICKETS 
AND  INVITATIONS  TO  MEETINGS  OF  CERE- 
MONY. ALTHOUGH  OF  GRACEFUL  SHAPE,  DO 
NOT  SELECT  THIS  STYLE  FOR  BOOK  OR  MERCANTILE 
WORK,  FOR  WHICH  HAIR-LINE  GOTHIC,  CEL- 
TIC, CUSHING  OR  SMALL  ROMAN  CAPITALS 

SHOULD    BE     PREFERRED.       IT   is    A   JOB,  NOT    A    BOOK 

LETTER.     IT  NEEDS  WIDE  LEADING  AND   WIDE 

SPACING     ALWAYS,    AND    OFTEN  THDT     CARD-BOARD 

BETWEEN  LETTERS  rw  THE  SAME  WORD  THAT 
ARE  TOO  CLOSE.  ITS  MERIT  19  DAMAGED  WHEN 
THE  TYPES  ARE  HUDDLED. 

1234567890  1234507800 


Nos.  1,  2,  3,  in  combination 

Engravers'  Roman  is  not  a  pleasing  selection  for  a  line  in  Book  Work  or 
Commercial  Job  Work.    It  may  be  used,  if  requested,  for  a  Visiting  or 
Professional  Card,  but  never  for  an  ordinary  Business  Card  or  for 
a  Bill-  or  Note-head  or  Mercantile  Circular  or  Advertisement. 
Its  value  as  a  good  type  for  occasions  of  ceremony  is 
seriously  degraded  when  it  is  mixed  in  com- 
position with  large  coarse  types. 

253 


The  Text  Types  of  the  foe  Vinne  'Press 

OTHER  ROMAN  FACES, 
CONDENSED  AND  EXPANDED 

BOUT  TWO  HUNDRED  AND  THREE  SIZES  OF  PLAIN 
Roman  book  types,  many  of  which  are  in  full  series  of  dis- 
tinct face,  as  shown  in  these  specimens,  should  be  enough 
to  please  tastes  that  require  special  consideration.  To  most 
buyers  and  readers  they  are  more  than  enough,  for  they  often 
confuse  selection. 

Yet  they  do  not  seem  to  be  enough  for  all  kinds  of  printing. 
There  is  continued  demand  for  Roman  types  that  are  bolder  or 
lighter,  broader  or  thinner,  elongated  or  obese  and  squatty.  To 
meet  these  demands  we  provide  Title  or  Fat-face,  Condensed  and 
Extra  Condensed  Skeleton,  and  Expanded,  of  which  specimens  are 
submitted  on  the  following  pages  under  many  arbitrary  and 
misleading  names.  For  some  of  these  faces  a  mated  Italic  has 
been  provided. 

ITALIC,  the  mate  of  Roman,  is  often  selected  for  paragraphs 
and  sometimes  for  short  prefaces  in  books,  as  well  as  for  the 
full-page  letter  circulars  of  merchants.    We  have  many  forms  and 
styles.     Use  plainer  styles  for  books. 

/CONDENSED  ROMAN  is  a  neglected  letter  in  larger  sizes.  It 
\_J  gives  good  service  in  jobs  that  need  some  display  but  in  a 
face  that  need  not  be  overbold,  black,  and  coarse.  Its  smaller 
sizes  are  needed  in  table  matter,  music,  labels,  and  advertisements. 
The  lower-case  of  this  style  is  more  effective  than  capitals  only. 

EXPANDED  ROMANS  are  rarely  needed  in  book  work,  but 
are  of  use  in  open  displayed  composition.  The  Celtics  offer 
pleasing  change  from  Roman.  Engravers'  Roman  of  small  sizes 
is  most  needed  in  ceremonial  printing.  It  needs  wide  leading  and 
often  hair-spacing  between  its  too  close  letters.  Do  not  use  it  in 
book  work  when  plain  capitals  of  good  form  can  be  had. 


254 


Other  Roman  Faces 
Condensed  and  Expanded 


Romans,  Condensed  and  Expanded 
OLD-STYLE  CONDENSED 

With  Lower-case 

OLD  WINE  POURED  IN  NEW  BOTTLES 
Condemned  by  Scripture  as  against  Settled  Usage 

Capitals  16*2  10-point,  old  body.    Farmer          Lower-case  1334 

OLD  FACES  OF  TYPE  IN  NEW  SHAPES 
of  Condensed  and  Expanded  are  also  violations 

Capitals  20  12-point,  old  body.   Farmer  Lower-case 


TITLE-PAGES 
Condensed  Type 

Capitals  59  48-point,  old  body.   Conner  Lower-case  41 

(There  is  a  smaller  face  on  same  body ;  see  p.  258) 


STATELY  AND  COMMANDING 
Characters  in  Large  but  not  in  Small  Letters 

Capitals  2114  18-point,  old  body.   Conner  Lower-case  17*2 


CONDENSED  1905  FIGURES 
Do  not  mate  rightly  with  the  Capitals 

Capitals  25*2  16-point,  old  body.    Farmer  Lower-case 

257 


Types  of  the  <Z)e  Vinne  'Press 
OLD-STYLE  CONDENSED 

With  Lower-case 

GOOD  IN  OPEN  DISPLAY 
But  not  in  a  solid  composition 

Capitals  2912  20-point,  old  body.    Farmer          Lower-case  23  ^ 

SERVICEABLE 
For  Display  in  a  Title-page 

Capitals  351%  24-point,  old  body.    Fanner  Lower-case  27 

THIN STROKES 

Cut  too  sharp 

Capitals  55  48-point,  old  body.   Conner  Lower-case  38 

(There  is  a  larger  face  on  same  body ;  see  p.  257) 

THICK  STROKES 
Lack  Needed  Strength 

Capitals  442g  36-point,  old  body.   Farmer          Lower-case  31 

258 


Romans,  Condensed  and  Expanded 
CONDENSED 

AN  EARLY  FORM  OF  CONDENSED  ROMAN 
Note  thickness  of  its  stems  and  thinness  of  its  lower-case 

Capitals  17  12-point  No.  162.     Bruce  Lower-case 


A  NEWER  AND  MORE  PLEASING  FORM 
Capitals  not  so  wide,  but  its  lower-case  wider  than  162 

Capitals  16  ^4  12-point  No.  164.     Bruce  Lower-case  13 

The  capitals  of  this  size  of  service  for 

DISPLAY  LINES  IN  THE  TITLE-PAGE 

Lower-case  is  useful  in  Circulars 

Capitals  2214  18-point  No.  164.     Bruce  Lower-case 


The  ordinary  Roman  Type 

CAST  UPON  THE  22-POINT  BODY 
Is  spaced  with  difficulty 

Capitals  25*2  22-point  No.  164.     Bruce  Lower-case  20 

When  Composition  is 

IN  A  NARROWED  MEASURE 
Bad  divisions  frequent 

Capitals  3123  24-point  No.  164.     Bruce  Lower-case  24% 

259 


Types  of  the  'DeVinne  'Press 
CONDENSED 

This  Lower-case 
IS  JUST  AS  DISTINCT 

as  in  types  of 
Regulation  Width 

Capitals  41  !a  36-point  No.  164,  old  body.     Bruce  Lower-case  29 

Fit  for  all 

TITLE-PAGES 

in  Capitals  or 

Lower-case 

Capitals  60  48-point  No.  164,  old  body.     Bruce  Lower-case  42i<j 

260 


Romans,  Condensed  and  Expanded 
ROMAN  CONDENSED 

AN  INTERMEDIATE   HEIGHT 
TWO -LINE  INITIAL 

Capitals  27  18-point  No.  2  No  lower-case 

WIDEK  &  BOLDER 
THAN  ON  PAGE  96 

Capitals  42  36-point  No.  3  No  lower-ease 


ROMAN  EXTRA  CONDENSED 

THIS  TYPE  IS  NOW  OUT  OF  FASHION 

Capitals  20'^  24-point,  old  body  No  lower-case 


CENTURY  EXPANDED 

A.  T.  F.  CO. 

TITLES 

For  Books  or  Pamphlets  are  most  readable  and  satisfactory 
when  every  line  in  every  letter  is  distinctly  perceived.  For 
smaller  sizes  see  pp.  112-113. 

Capitals  109^  72-point 

261 


Types  of  the  ^DeVinne  Press 
NORMAN 

Farmer 
Many  Faces  on  Few  Bodies 

IT  IS  NOT  PROBABLE  THAT  A  MORE  USEFUL 

OR  MORE  GRACEFUL  SHAPE  OF  LETTER  CAN  BE  DEVISED  THAN 

THAT  OF  ORDINARY  ROMAN  TYPE  USED  IN  BOOKS  AND 

NEWSPAPERS,  BUT  ADVERTISERS  SAY  THAT  ROMAN 

DOES  NOT  PROPERLY  EXPRESS  WRITTEN  WORDS 

IN  ALL  KINDS  OF  PRINTED  WORK 

Capitals  15  10-point,  old  body  Small  capitals  12 


TO  BUYERS  OF  PRINTING 
WHO  OBJECT  TO  ROMAN  LETTER  AS  TOO 

PLAIN  AND  COMMONPLACE,  NORMAN 
SHOULD  BE  RATED  AS  SUFFICIENTLY  LIGHT. 

IT  WILL  BEAR  JUDICIOUS  SPACING 
OF  LETTERS  ONLY  IN  OPEN  COMPOSITION 

Capitals  24  16-point,  old  body  Small  capitals  18*2 


1234567890        1234567890 


1234567890 


1234567890 


Romans,  Condensed  and  Expanded 


NOEMAN 

Farmer 


IT  SHOWS  AT  ITS  BEST 

WHEN  ALL  SIZES 
CAN  BE  USED  TOGETHER, 

NEVER  SELECT  IT  IN 
ANY  SOLID  COMPOSITION 

Capitals  3634  24-point,  old  body  Small  capitals  2934 

THIS  NORMAN 

TYPE  OFFERS  SEVEN 
FACES  ON  BUT  4  BODIES 

Capitals  43^  36-point,  old  body  Small  capitals  361s 

1234567890 


263 


Types  of  the  <De  Vinne  'Press 


MONASTIC 

Farmer 


HAS  TEN  HAIR-LINE  FACES  ON  FIVE  BODIES  BETWEEN 
12-  AND  40-POiNT.  THINNEHBDT  NOT  so  GRACEFUL  jis  THE  HORMAH  TYPE 

Capitals  12  12-point,  old  body  Small  capitals 


J(  SORRY  EXHIBIT  OF  COMPRESSED  AND  TORTURED 

LETTERS.  HOW  THEY  SUFFER  FROM  SQUEEZING 

Capitals  15^  18-point,  old  body  Small  capitals  12i<j 


USEFUL  FOR  FILLING  PANELS  OR  WHITE 

SPACE  WITH  WORDS  NOT  DEEDING  BOLDNESS 

Capitals  19^  24-point,  old  body  Small  capitals  16 

MAI  BE  USED,  WITH  DISCRETION, 

TO  MATE  WITH  THE  COMELIER  NORMAN 

Capitals  23  36-point,  old  body  Small  Capitals  19 


Capitals  3234  40-point,  old  body  Small  capitals  2314 

264 


,  Condensed  and  Expanded 
TWO -LINE  LIGHT-FACE 

Farmer 

A   LETTER  THAT  WILL   SERVE  WELL  AS   AN 
INITIAL  FOR   SMALL  BODY  TYPES 

Capitals  IS1^  9-point,  old  body 

THIS  FACE  NEEDS  PLENTY  OF 

BLANK   BETWEEN   WORDS 

AND    BETWEEN   LINES 

Capitals  2684  12-point,  old  body 

DESIGNED  BY  A  MASTER 

Capitals  34!^  16-point,  old  body 

NEAT  LETTEKING- 

Capitals  41  20-point,  old  body 

OKNAMENTS   NO 
IMPKOVEMENT 

Capitals  49  24-point,  old  body 


123456T890123456 


78901234567890 


Note:  For  similar  face  with 
lower-case  see  pp.  174  - 178 

265 


Types  of  the  <De  Vinne  "Press 
OLD-STYLE  EXTRA  CONDENSED 

With  Lower-case 


THIS  TYPE  IS  OF  POSSIBLE  SERVICE  IN  JOB  -WORK 
Offers  little  advantage  in  the  Composition  of  Books 

Capitals  14^          18-point  No.  1,  old  body.   Fanner       Lower-case  1214 


SOME  OF  ITS  MUCH-CONDENSED  LETTERS 
Do  not  show  special  features  of  Old-Style 

Capitals  20  24-point  No.  1,  old  body.    Farmer       Lower-case  1 6i<j 

AS  IN  INITIAL  FOR  SMALL  TYPE 
It  has  some  usefiilness.  Has  iipres 

Capitals  23  36-point  No.  1,  old  body.    Farmer       Lower-case  20 

ELONGATION  IS  EXCESSIVE 
forts  appear  better  in  I  wo  lines 

Capitals  27^          40-point,  old  body.     Farmer  Lower-case  22*2 

266 


Romans,  Condensed  and  Expanded 
EXTKA  CONDENSED 


Capitals  23 


40-point,  old  body.     Farmer 


Lower-case 


1SY  kinds  of  printing  call 
for  types  that  are  extremely 
thin.  Headings  to  column 

work  in  tables  of  figures, 

and  words  that  cross  all  the  col- 
umns and  must  be  kept  in  one  line, 
need  these  pinched  letters.  It  is 
better  to  nse  a  thin  letter  that  will 
prevent  the  abbreviations  that  are 
often  misleading  in  sense  and  are 
so  made  bj  the  use  of  too  many 
periods  and  apostrophes.  This 
face  of  fi-point  Condensed  has 
thicker  stems  than  those  of  the 
8-point  styles  by  its  side.  It  will 
not  wear  so  well  under  a  long  and 
severe  impression. 
6-point  No.  5,  old  body, 
A.  T.  F.  Co. 


SIDE-NOTES  and  cut-in  notes 
may  need   condensed  letters 
of  great  thinness.     When  the 
author    permits,  a  condensed 
type  is  to  be  preferred  for  cut-in 
notes  to  italic  that  has  easily  broken 
kerns,  but  do  not  nse  a  thin  letter 
for  notes  of  this  kind  when  the  type 
is  not  easily  readable.    In  anno- 


ronian  letter  is  preferred  for  side- 
notes.    Ordinary  roman  lower-ease 
is  quite  as  plain ;  it  withstands  more 
wear  and  does  not  fill  with  ink. 
8-point  No.  603, 
old  body.     Bruce 


EXTRA  condensed  cap- 
ital letters  are  most 
useful  as  initials  in 
columns  of  very  nar- 
row measure.    The  objec- 
tion properly  made  to  the 
obscurity  of  a  long  line 
of  thin  letters  does  not 
apply  to  the  single  letter 
that  is  easily  recognized. 
Condensed  type  is  also  of 
service  in  small  labels,  and 
the  style  is  tolerated  even 
when  letters  are  obscure. 
8-point  No.  164, 
old  body.     Bruce 


EXTRA  CONDENSED  TYPE  may  be  a  useful  type  in  One  Line,  but  it  is  Not  Pleasing 
when  used  in  Many  Lines  of  Lower-case  as  the  text  letter  of  a  paragraph. 

Capitals  9%        12-point  No.  603,  old  body.    Bruce        Lower-case  7*4 


Capitals  24  48-point,  old  body.     Farmer 

267 


Lower-case 


Types  of  the  1)e  Vinne  '•Press 
ALDINE 

Prom  the  Bruce  Type  Foundry 

ALDINE  is  the  name 

given  to  a  compressed  and 

carefully  designed  form  of  Title 

or  Fat-faced  type  which  occupies  less 

space  in  width.    It  is  of  more  pleasing  shape 

and  is  almost  as  distinct  as  the  broader  face.  Newer  Fashions 
have  supplanted  it  in  the  belief  of  some  advertisers  as  a  letter  of  display, 

bat  not  all  the  novelties  can  be  accepted  as  improrements.  The  smaller  sizes  continue  to 
be  preferred  for  Subheadings  and  Side-headings  and  for  the  Cut-in  Notes  of  pages  in  larger 
roman  letter.  Aldine  has  a  symmetry  and  harmony  with  ordinary  roman  text  type  that  1* 
not  found  in  the  ordinary  faces  of  Gothic  and  Antique  types  of  display. 


NETER  WIDE  SPACE  LOWER-CASE  CHARACTERS 

Of  any  Style  without  Special  Order.    Spaces  between  Letters  make  the 

word  so  treated  unsightly.    They  break  the  connection  of  words 

and  make  their  comprehension  difficult  to  understand 

Capitals  12^  8-point,  old  body  Lower-case  91-4 


THE  SPACING  OF  CAPITALS 

Is  often  desirable  when  there  is  a  Fair  Space  between  the 

Lines  of  Display  in  Open  Composition.    Do  not  space 

them  in  any  kind  of  Solid  or  Thin-leaded  work 

Capitals  16  10-point,  old  body  Lower-ease 


A  SIDE-HEADING  OF  LOWER-CASE 

Should  toe  preferred  for  Solid  Composition.    A 

long  row  of  Capital  Letters  is  not  so  neat 

as  Lower-case  for  this  purpose 

Capitals  IQi^z  12-point,  old  body  Lower-case 

268 


Romans,  Condensed  and  Expanded 
ALDINE 

From  the  Bruce  Type  Foundry 

THE  CONNECTING  DASH 

After  a  Side-heading  is  never  really 
needed.    An  em-quadrat  is  neater 

Capitals  25*2  18-point,  old  body  Lower-case 


TWO  MEETING  LINES 

Equal  in  length  may  need  for  one 
line  a  little  thin  spacing 

Capitals  301^  22-point,  old  body  Lower-case  21 

ONE  LINE  SPACED 

Wide  between  letters  and 
another  not  spaced 

Capitals  3934  28-point,  old  body  Lower-case  2734 

Show  disregard  of 
UNIFORMITY 

Capitals  50*2  36-point,  old  body  Lower-ease  36*2 

THE  SUBHEADING  IS  MORE  DISTINCT  when  it  can  be  set  as  a  Short  Line  with  quadrats 
at  each  end  that  give  to  it  some  additional  Relief  of  White  Space.  The  Heading  is  not  im- 
prored,  but  is  Made  Indistinct,  when  Spaces  are  put  between  Single  Letters  for  the  purpose 
of  stretching  out  the  types  so  that  they  will  meet  extreme  ends  of  the  measure. 

Capitals  10  6-point,  old  body  Lower-case  7*2 

269 


Types  of  the  ^eVinne  'Press 
EXTRA  CONDENSED  TITLE 


UlYKK  SELECT  Extra  Condensed  in 
the  form  of  CAPITALS  for  a  Line  of  Dis- 
play, for  the  only  Reason  that  yon  can 
put  Many  Letters  in  one  line.  Two 
lines  of  Smaller  Type  may  be  better. 

10-point  No.  5,  old  body.    A.  T.  F.  Co 
Capitals  lO1^     Lower-case  S1^ 


EXTRA  CONDENSED  TYPE  can  be  used  occasionally 
in  Music,  Labels,  Narrow  Measures,  in  the  Con- 
tracted Headings  of  Tabular  Matter,  and  in  Lines 
of  Words  that  have  to  cross  Many  Columns  of  Table 
Figures.  Prefer  lower-case  of  plain  letter. 

10-point  No.  5,  old  body.     A.  T.  F.  Co. 
Capitals  8%        Lower-case  714 


For  other  variations  of  Extra  Condensed  type  of  thick  lines  on 
the  ordinary  roman  model,  see  Extra  Condensed  De  Vinne  on 
pages  279  and  280,  and  Latin  Condensed  on  pages  378  and  379. 
Extra  Condensed  letters  with  thick  lines  are  often  muddy  in 
presswork. 

Many  of  these  Title  types  were  bought  to  be  used  for  the  side- 
headings  or  displayed  words  in  texts  of  roman  type  on  the  old 
bodies,  and  they  are  retained  in  case  for  that  purpose,  as  well  as 
for  valuable  odd  sorts  that  were  made  to  order  for  special  work. 
But  few  of  them  line  with  roman. 

Subheadings  of  two  or  more  lines  in  Title  type  call  for  discre- 
tion. One  line  in  solid  work  should  make  the  display  wanted ; 
two  lines  should  be  separated  by  a  lead.  Three  or  more  lines,  as 
in  a  paragraph,  are  not  inviting  but  forbidding.  Reading  mat- 
ter so  treated  presents  a  black  blotch  of  huddled  and  relatively 
indistinct  letters.  Never  thin-space  any  lower-case  letter. 


KOMAN  CONDENSED 


text  books 

123456899 


No  capitals 


60-point,  old  body 
270 


Lower-case  68 


Romans,  Condensed  and  Expanded 
EXPANDED  No.  180 

From  the  Bruce  Type  Foundry 

TOLERATED  ZN"  OBLONG 
But  not  in  Octavo  Title-pages 

Capitals  371s  12-point,  old  body  Lower-case  23*2 

EXPANDED    TYPES  sire  so  WHEN   THE    LETTER   IS 

made  with  intent  to  give  more  of  MADE      TOO      BROAD     the 

clearness  to  each  character.    The  strokes     of    meeting     letters 
pxitting    of   more    space    between  .      ,   . 

parallel  stems  in  each  letter  pnts  crowd  one  another,  and  this 

in.  also  more  relief  of  white  and.  crowding   tends    toward    OD- 

this  helps  legibility.    Its  usual  de-  sourity.       Serifs    have    to    be 

feet  is   too  close  fitting.    Meeting  longer,    and   meeting    letters 

capital  letters  often  interfere.  must  be  kept  apart. 

Capitals  15^  Lower-case  1Q14      Capitals  17^  Lower-case  1134 

5-point,  old  body.  6-point,  old  body. 

NOT  APPROVED 
by  Book  Printers 

Capitals  56^  18-point,  old  body  Lower-ease  34 


A  FULL  LINE  of  close-fitted  Expanded  usu- 
ally needs  thin  spaces  between  capitals.  In  all 
jobs  give  Expanded  Faces  plenty  of  margin. 

Capitals  21^  8-point,  old  body  Lower-case 


USEFUL    FOR 

of  few  words  but  not  for  a  Full  3?age  or 
even  for  a  crowded  Line.  It  needs  lead- 
ing and  wide  spaces  between  its  words. 

Capitals  30  10-point,  old  body  Lower-case  17 


OF  EXF-AJVDED  LETTER  calls  for 
a  wide  spacing  between  words.  Its  irregularities  of  form  are 
but  a  slight  check  on  the  obscurity  made  by  its  fatness.  It 
needs  an  additional  relief  of  white  space  to  please  the  eye. 

Capitals  19^  Lower-case  11 

6-point,  old  body,  title  expanded  No.  182 

2T1 


Types  of  the  <De  Vinne  "Press 
EXPANDED 

Expanded  Type  may  be  a  pleasing  letter  in  the  short 
paragraph  intended  to  be  unobtrusive  but  of  service 
in  arresting  attention.  It  is  not  a  good  selection  for 
a  side-heading  either  in  capitals  or  lower-case.  For  small 
cards,  note  circulars,  or  notices,  it  may  be  used  with  good 
effect  as  the  exclusive  type  of  text,  but  it  must  have  a 
wide  margin  always.  For  an  oblong  title-page  it  may  be 
pleasing  for  lines  of  display,  but  never  for  a  tall  title-page 
of  usual  shape.  For  most  title-pages  the  regular  shape,  not 
condensed  or  expanded,  is  to  be  preferred.  Always  seems 
best  in  a  subheading  as  a  short  line,  with  blank  at  ends. 


EXPANDED 

Capitals  74  No  lower-case 

24-point,  old  body,  No.  180.    Bruce 


FOR  SHORT   SUBHEADINGS 
SELECT  FOR  A  SHORT  BUT  NOT  A.  LONG  LINE 

Capitals  191^  No  lower-case 

t,  old  body,  No.  182.    Bruce 


t 

Capitals  3984  10-point,  old  body.    Brace  Lower-case  31 


Other  fonts  of  thick-face  Expanded  have  been  discarded  and  will 
not  be  renewed.  This  is  reserved  for  specially  requested  reprints 
only.  Other  forms  of  Obese  Type  are  shown  under  the  titles 
of  Clarendon  Extended,  French  Antique,  and  Antique  Extended. 


272 


Romans,  Condensed  and  Expanded 


DE  VINNE 

THIS  face  is  the  outcome  of  correspondence  (1888-90)  be- 
tween the  senior  of  the  De  Vinne  Press  and  the  late  Mr. 
J.  A.  St.  John  of  the  Central  Type  Foundry  of  St.  Louis, 
concerning  the  need  of  plainer  types  of  display,  to  replace  the 
profusely  ornamented  types  in  fashion,  of  which  the  printers  of 
that  time  had  a  surfeit.  The  De  Vinne  Press  suggested  a  return 
to  the  simplicity  of  the  true  old-style  character,  but  with  the  added 
features  of  thicker  lines  and  adjusted  proportion  in  shapes  of 
letters.  Mr.  St.  John  approved,  but  insisted  on  grotesques  to 
some  capital  letters  in  the  belief  that  they  would  meet  a  general 
desire  for  more  of  quaintness.  Mr.  Werner  of  the  Central  Type 
Foundry  was  instructed  to  draw  and  cut  the  proposed  face  in  all 
sizes  from  6-  to  72-point,  which  task  he  executed  with  ability. 

The  name  given  to  this  face  by  Mr.  St.  John  is  purely  com- 
plimentary, for  no  member  of  the  De  Vinne  Press  has  any  claim 
on  the  style  as  inventor  or  designer.  Its  merits  are  largely  due 
to  Mr.  Werner ;  its  few  faults  of  uncouth  capitals  and  out-of-line 
arabic  figures  on  the  first  issue  show  a  desire  to  please  eccentric 
tastes  and  to  conform  to  old  usage.  The  new  face  found  wel- 
come here  and  abroad ;  no  advertising  type  of  recent  production 
had  a  greater  sale. 

Some  of  the  smaller  sizes  have  been  supplemented  with  an  italic 
of  similar  design.  A  condensed  and  extra  condensed  series  have 
also  been  added  to  the  most  used  regular  bodies  first  made,  in 
which  all  the  peculiarities  of  the  first  form  have  been  maintained. 
Each  series  shows  the  same  thickness  of  stem,  and  their  letters 
line  one  with  another  in  any  combination. 


This  paragraph  shows  that  the  three  different  shapes  of  this 

face — ordinary  width,  condensed,  and  extra  condensed— can  be  com- 
bined in  the  same  line  so  that  important  words  can  have  the  largest  and 
relatively  unimportant  words  a  smaller  size  without  any  appearance  of  im- 
propriety. Useless  divisions  can  be  avoided,  even  spacing  maintained,  and  an  appearance 
of  symmetry  given  to  tbe  composition,  that  is  impossible  with  any  broad  letter  in  a  narrow  measure 

273 


Types  of  the  "Dc  Vinne  '•Press 
DE  YINNE 

From  the  American  Type  Founders  Co. 

PROVES  A  USEFUL  SUBSTITUTE  FOR  THE  TITLE  TYPE 

Selected  for  Emphatic  Words  or  Phrases  in  Paragraphs  of  Old  Style  that   call  for 
more  distinction  than  that  of  italic  or  small  capitals  but  not  for  bold  display 

Capitals  10*2  6-point  Lower-case  8 

SERVICEABLE  FOR  THE  SUBHEADINGS 
Or  side-headings  of  common  matter  in  the  Series  of  Capitals  or  Lower-case 

Capitals  11*2  7-point  Lower-case  9 

MUCH  BOLDER  THAN  ITALIC 

Not  so  Bold  and  Staring  as  the  more  used  faces  of  Antique  or  Gothic 
Capitals  1314  8-point  Lower-case  10 

ITALIC   AND   FRENCH  ACCENTS 
Are  provided  for  this  font  in  three  job  cases  and  one  sort  case 

Capitals  16  10-point  Lower-case 


FOR  THIS  FONT  ALSO 

We  have  Italic  and  Accents  in  three  cases,  with 
four  additional  sort  cases  for  the  Capitals 

Capitals  19  12-point  Lower-case 


MAKES  A  SIDE-HEADING 
That  meets  with  Approval  for  Catalogues 

Capitals  23  14-point  Lower-case  17 

ITS  GREATEST  DEFECT 
Does  not  Line  exactly  with  Roman 

Capitals  28  18-point  Lower-case  21^4 

IT  WAS  DESIGNED 
Before  the  Lining  System 

Capitals  37  24-point  Lower-case 

274 


Romans,  Condensed  and  Expanded 
DE  VINNE 

ESTEEMED 
By  Every  Advertiser 

Capitals  45  30-point  Lower-case  341$ 

BOLDNESS 
With  Simplicity 

Capitals  5184  36-point  Lower-case  43 

USEFUL  FOR 
Pamphlet  Cover 

Capitals  66^  42-point  Lower-case  49*2 

CAPITALS 
of  Bold  Face 

Capitals  78  48-point  Lower-case  59*$ 

275 


Types  of  the  foe  Vinne  'Press 
DE  VINNE 

LETTERS 
To  be  Seen 

Capitals  SS1^  54-point  Lower-case  6684 

NOT 


Capitals  9  9  14.  60-point  Lower-case 


GOOD 
Fashion 


Capitals  11514  72-point  Lower-case  87 

276 


Romans,  Condensed  and  Expanded 
DEYINNE   CONDENSED 

ALL  THE  CONDENSED  AND  THE  EXTRA  CONDENSED  TYPES 

Of  this  Series  were  cat  and  cast  to  line  with  the  broader  faces  of  Standard  Width.    The  types  of  any  one 
of  the  Series  can  be  used  with  others  of  Same  Body  in  the  Same  Line  or  Same  Word  with  good  effect 

Capitals  8*4  6-point  Lower-case  6*2 

THE  COMBINATION  OF  TYPES  OF  DIFFERENT  WIDTH 

But  of  tbe  Same  Style  in  the  Same  Word  or  Same  Line  is  an  Innovation  of  Usefulness. 
It  Is  an  Aid  to  Even  Spacing,  and  it  often  prevents  Awkward  Divisions 

Capitals  1014  8-point  Lower-case  8 

A  BROKEN  TEXT  LINE  AT  THE  TOP 

Of  a  Page  is  always  Uopleasing.    It  should  be  avoided,  for  it  often  carries 
with  it  the  Suggestion  of  Neglect  or  Slighted  Workmanship 

Capitals  111^  10-point  Lower-case  9 


THE  BROKEN  LINE  IS  NOT  AVOIDABLE 
In  Composing  Poetry,  Tables  of  Names,  and  Dialogue  Matter 

Capitals  15  12-point  Lower-case  lli<j 

TWO  WIDTHS  OF  THE  SAME  FACE 

Are  Noticeable  in  Spanish  Books  of  the  Fifteenth 

Century,  and  much  to  their  improvement 

Capitals  18  14  14-point  Lower-case  14 

TO  AVOID  A  BROKEN  LINE 
Reduce  the  Blanks  in  the  Preceding  Pages 

Capitals  22^  18-point  Lower-case  1714 

REDUCE  THE  SPACING 
In  any  Wide=spaced  Paragraph 

Capitals  29*2  24-point  Lower-case  22 

277 


Types  of  the  <De  Vinne  '•Press 
DE  YINNE  CONDENSED 

DRIVE  OUT  MATTER 
Thereby  Make  a  New  Line 

Capitals  36*?  30-point  Lower-case  27 

RAQQEDNESS 
Is  Always  Unsightly 

Capitals  45  36-point  Lower-case  34^ 

MAKE  PAGE 
With  Neat  Outline 

Capitals  63  42-point  Lower-case  40 

BORDER  LINE 
Is  Monotonous 

Capitals  6184  48-point  Lower-case  4  6*3 

278 


,  Condensed  and  Expanded 
DEVINNE  EXTRA  CONDENSED 

EXTRA  CONDENSED  TYPES  UPON  SMALL  BODIES 

Are  Not  Easily  Read  by  those  who  have  to  Assist  Failing  Sight  with 

Spectacles,  and  Scrutinize  the  Form  of  Each  Doubtful  Letter 

Capitals  ll^  12-point  Lower-case  9*2 


THEIR  BEST  USE  IN  NARROW  COLUMNS 
Shorter  Letters  in  Two  Lines  are  quite  as  Readable 


Capitals  IB^  18-point  Lower-case 


THIN  LETTERS  ARE  TOLERATED 
la  Labels  and  across  the  Backs  of  Books 

Capitals  201$  24-point  Lower-case  IG^ 

NOT  A  PLEASING  SHAPE 
In  the  Composition  of  a  Paragraph 

Capitals  2534  30-point  Lower-case  2114 

MAKES  SCAREHEADS 
For  the  Newspaper  Shocker 

Capitals  31*2  36-point  Lower-case  25 

279 


Types  of  the  <De  Vinne  'Press 
DE  VINNE  EXTRA  CONDENSED 

MANY  DENSE  LINES 
Tiresome  to  a  Reader 

Capitals  37  42-point  Lower-case  SO^ 

THIN  LETTERS 
Contrasting  Blank 

Capitals  41^4  48-point  Lower-case  34*4 


EXTRA  CONDENSED  TITLE  No.  601 

Bruce 


THIS 

Old-time  Face 

Capitals  62  60-point,  old  body  Lower-case  50 

Has  figures 

280 


Title  or  Fat-Face 


Title  or  Fat -Face 
TITLE  OLD-STYLE 

From  the  American  Type  Founders  Co. 

A  STUDY  OF  TUB  STRUCTURE  OP  THE  CABL.ON 

Or  True  Old-style  Type  fairly  shows  Intent  of  tne  Designer 

to  make  print  therefrom  readable  by  the  lightness, 

Openness,  and  Angularity  of  the  letter 

Capitals  12^  6-point  Lower-case 


THICK  STROKE   WAS  NOT  TOO  THICK 

And  its  firm  Hair-line  -was  always  Easily  Visible 
'White  space  kept  within  each  letter 

Capitals  18  8-point  Lower-case  13*2 


WHITE  ENOUGH  BETWEEN  LINES 
Was  provided  upon  tne  type  for  tne  ease  of  reader 

Capitals  19  9-point  Lower-case 


THIS  FACE  IS  NOT  SO  PLANNED 

Its  face  nearly  fills  body  and  shuts  out  white 

Capitals  21*2  10-point  Lower-case  16% 

GOOD  IN  JOB  WORK 
But  not  in  Neat  Book  Work 

Capitals  86*3  18-point  Lower-case  29ig 

WHY  IMITATE  OLD-STYLE 

In  Form  only  and  defeat  its  Purpose? 

Capitals  25%  12-point  Lower-case  18*2 

BOLD  IN  ONE  LINE 

But  Muddled   in  Two   lines  Solid 

Capitals  29  14-point  Lower-case  2012 

283 


Types  of  the  <De  Vinne  'Press 
TITLE  OR  FAT -FACE 

Prom  the  Bruce  Type  Foundry 

FAT-FACE  TYPE  IN  TWO  STYLES 

The  \o.  14O  face  shows  the  thicker  shape  made 
about  1 8 2O  for  very  bold  print 

Capitals  20^,  10-point  No.  140,  old  body          Lower-case  14*2 


TO  JOB  PRINTERS  thick-faced  type*  were 
welcome.  The  thin  roman*  then  made  by 
English  type-foundcru  for  book  work  were 
light  and  not  attractive  to  the  hasty  reader, 
but  the  thick  face  compelled  attention  at  the 
first  clance.  It  wa«  need  not  only  for  adver- 
tUemenU  but  even  a*  a  text  letter  for  book*. 


Capitals  lO^        Lower-case?1^ 
5-point  No.  140,  old  body 


TITLE  TYPE  for  book  texts  has  been 
selected  by  amateur  printers  of  our  own 
time,  but  this  experiment  has  not  met 
with  general  approval.  Readers  object 
to  a  modern  book,  even  when  admirably 
printed  on  band-made  paper,  that  baa 
the  solemnity  of  a  got  hie  manuscript. 

Capitals  12          Lower-case  S1^ 
5^-point  No.  140,  old  body 


A  FAT-FACE  OF  182O 

that  Overbears  all  other  Faces 


Capitals  8614 


18-point  No.  140,  old  body      Lower-case  24^ 


THE  No.  143  J4T  Y  I,  K  now  find* 
few  admirer*.  It  is  seldom  seen  in 
recent  books,  bat  does  occasionally 
appear  in  adrertisements  or  in  a 
carefnl  reprint  of  some  scarce  or 
famous  book  of  an  innovating  Eng- 
lish  printer  of  the  early  nineteenth 
century. 

Capitals  14*2       Lower-case  9*2 
6-point  No.  140,  old  body 


HOOK  PRINTERS  OF  EXPERIENCE 
refuse  it  as  a  text  type,  bat  they  do  give 
it  limited  employment  for  tbe  sub- 

headings  of  dictionaries  and  gazetteers 
In  places  where  its  gloom  is  (airly 
relieved  by  the  grayer  color  of  sur- 
rounding  roman  type. 

Capitals  12  Lower-case  834 

6-point  No.  143,  old  body 


USE  FAT-FACE    WITH    DISCRETION 

One  line  makes  fair  display.    Two  or  more  lines  are  not 
so  effective  and  need  leads  between  lines 

Capitals  17  7-point  No.  140,  old  body        Lower-case  12 


ALL,  SIZES  WERE  USED  FOR  SUBHEADINGS 

and  even  for  Title-pages  of  Books  and  Advertisements 

Capitals  17  8-point  No.  140,  old  body  Lower-case 

284 


Title  or  Fat -Face 
TITLE  OR  FAT-FACE 

From  the  Farmer  Type  Foundry 


DISPLAYED  WORDS  IN  SOLID  COMPOSITION 

Always  appear  to  better  advantage  in  Lower-case.      Not  so  good  in  Capitals 

Capitals  ll1^  6-point  Lower-case  734 


ADVERTISERS  PREFER  FAT-FACE 

Sometimes  they  use  Capitals  to  excess  in  Solid  Composition,  where 
they  nearly  fill  the  body  and  huddle  words  to  their  obscurity 

Capitals  14  7-point,  old  body  Lower-case  10 


THIS  LIGHTER  FACE  OF  TITLE  TYPE 

From  the  Bruce  Type  Foundry  was  preferred  for  Side-headings 
in  Dictionaries  and  Text  Books 

Capitals  16  8-point,  old  body,  No.  143  Lower-case  11 


OF  THIS  MODERNIZED   FONT  we  have  two  Job  Cases. 

Once  used  for  School  Books.    It  has  Long  and  Short  Vowels 

and  Diacritical  Marks,  as  well  as  some  Joined  Letters 

Capitals  17  8-point  No.  3,  old  body  Lower-case  11  ^ 


THIS  LIGHTER  FACE  OF  TITLE 

is  DOW  preferred  for  the  side-heads  of  Book  Work. 

It  is  not  at  all  Gloomy  and  is  very  Readable 

Capitals  18*2  10-point  (one-nick),  old  body        Lower-case  13 1% 


FAT-FACED  TYPE  IS  NOT  DURABLE 

The  Impression  needed  to  give  strong1  Black  to 
thick  Strokes  gradually  breaks  down  serifs 

Capitals  20  10-point  (three-nick),  old  body       Lower-case 

285 


Types  of  the  <De  Vinne  Press 
JOHN   HANCOCK 

From  the  Keystone  Type  Foundry 

TWO  SHAPES  ARE  PROVIDED  for  this  very  Bold  Title  Letter 

Capitals  14  8-point  Lower-case  12 

ONE  OF  REGULAR  WIDTH,  One  Condensed  Shape 

Capitals  18  10-point  Lower-case  15 

THEY  ARE  CAST  TO  Line  One  with  Another 

Capitals  1934  12-point  Lower-case  16*3 

LETTERS  OF  TWO  Different  Series 

Capitals  23*3  14-point  Lower-case  19*3 

MAY  APPEAR  in  the  same  Line 

Capitals  2884  18-point  Lower-case  23% 

Same  Word 

Capitals  78%  48-point  Lower-case  6514 

WITHOUT  Impropriety 

Capitals  36*4  24-point  Lower-case  30*3 

CLUMSY  Divisions 

Capitals  4413  30-point  Lower-case  3634 

FALSE  Spacing 

Capitals  54*2  36-point  Lower-case  45 

ARE  Avoided 

Capitals  66%  42-point  Lower-case  54% 

286 


Title  or  Fat -Pace 
JOHN  HANCOCK  CONDENSED 

From  the  Keystone  Type  Foundry 

TO  GIVE  BOLDNESS  To  the  Advertisements 

Capitals  1914  18-point  Lower-case  16  is 

DO  NOT  HUDDLE  Fat  Types  closely 

Capitals  2434  24-point  Lower-case  2084 

DISPLAY  NEEDS  relief  oi  while 

Capitals  29*s  30-point  Lower-case  24% 

A  Huddle  of  Bold  Type 

PREVENTS  CONTRAST 

Capitals  3  6*2  36-point  Lower-case  31 

Small  Tvoe  Between 


Capitals  44  42-point  Lower-case  3 6*2 

Gives  the  Needed 
DISTINCTION 

Capitals  62  48-point  Lower-case  4334 

28T 


Types  of  the  <De  Vinne  "Press 
COPLEY 

Boston 
Eight  Faces  on  Four  Bodies.     No  lower-ease 

SERIFS 

BRACKETED 

Capitals  98  48-point,  old  body  Small  capitals  74 

BOLD  TYPE 

FOR   DISPLAY 

Capitals  72  36-point,  old  body  Small  capitals  59 

A  SUGGESTION 

OF  SIGNBOARDS 

Capitals  58  24-point,  old  body  Small  capitals  43^ 


HAS   ORIGINALITY 

LETTERS  AND  FIGURES 

1234-56Z890 

Capitals  44  20-point,  old  body  Small  capitals  35 

288 


Italic  Faces 


Italic  Types  of  the  ^DeVinne 
ITALIC 


ITALIC  is  used  for  running  titles,  subheads,  and  emphasized 
words  of  book  pages  in  lines  where  no  other  style  would  be 
acceptable.  In  job  work  the  lower-case  series  of  a  large  size 
should  be  preferred  to  its  capitals,  which  often  show  unpleasant 
gaps  at  the  meeting  of  letters  that  unavoidably  have  different 
angles  of  inclination.  These  irregularities  are  now  more  success- 
fully concealed  or  evaded  in  Modern  faces  than  in  the  so-called 
Caslon  Old-style.  The  lighter  faces  of  Modernized  Old-style  need 
more  white  space  about  them  than  the  Caslon.  Most  merchants 
prefer  their  printed  circulars  in  a  large  and  readable  italic  to  any 
form  of  typographic  script. 

Avoid  the  selection  of  Modernized  or  Caslon  Old-style  for  any 
line  of  capitals  that  requires  arabic  figures.  The  figures  furnished 
by  the  type-founders  answer  their  purpose  well  enough  in  lower- 
case composition,  but  they  do  not  line  and  are  absurdly  small  and 
insignificant  when  used  with  capital  letters.  The  continued  use 
of  roman  numerals  for  dates  or  amounts  in  the  few  lines  of  display 
required  in  book  work  is  the  result  of  a  confirmed  dislike  of  the 
unsymmetrical  figures  that  accompany  every  font  of  Old-style. 

Italic  rarely  finds  employment  as  the  text  type  for  a  standard 
book,  but  it  is  occasionally  selected  for  prefaces  and  introductions 
to  texts  in  roman  letter.  One  of  the  recent  novelties  in  book  work 
is  the  use  of  italic  for  side-notes  in  places  where  its  kerned  letters 
are  unduly  exposed  and  liable  to  be  broken.  The  unpleasing  con- 
trast of  upright  arabic  figures  which  may  have  to  be  used  for 
marks  of  reference  in  side-notes  is  another  objection. 

Another  novelty  is  the  selection  of  italic  in  running  titles  and 
in  display  work  for  the  articles,  prepositions,  and  other  unimpor- 
tant words  of  a  sentence.  Old-style  Italic  is  the  face  preferred  for 
this  purpose.  It  seems  to  be  the  unconsidered  imitation  of  a 
practice  made  by  impoverished  printers  of  the  seventeenth  cen- 
tury, who  had  to  resort  to  italic  when  there  were  no  sorts  in  a 
case  of  roman  for  the  proper  composition  of  the  book.  There  is 
no  good  reason  why  a  practice  should  be  maintained  which  is 
really  an  evidence  of  poverty  and  not  of  art  or  skill. 

Specimens  of  the  smaller  sizes  of  the  regular  italics  usually 
furnished  with  fonts  of  roman,  can  be  seen  with  their  mated 
romans  in  this  book  on  pages  following  133. 

291 


Italic  Types  of  the  ^eVinne 
CASLON  OLD-STYLE  ITALIC 

Consideration  is  always  given  to 

THESE  QUAINr  LETTERS 
In  any  kind  of  Composition 

Capitals  32  22-point.    A.  T.  F.  Co.  Lower-case  17 

1234567890 

Some  of  the  Characters  are 
ACTUALLY  STARTLING 

from  their  Quaintness  of  Shape 
But  all  are  Readable 

Capitals  35  24-point.    A.  T.  F.  Co.  Lower-case  19 


Note  &  ^  T  and  T. 
DOUBLED  LETTERS 
are  made  for  all  the  sizes 
as  infiffffiflffi 

Capitals  42  28-point.    A.  T.  F.  Co.  Lower-case  23 

292 


Italic  Types  of  the  ^eVinne 
CASLON  OLD-STYLE  ITALIC 

From  the  American  Type  Founders  Co. 

Its  Figures  are  not 

STMMETRIC^L 

not  mates  for  Capitals 

Capitals  58  36-point,  old  body  Lower-case  301^ 

Capitals  only  are 

UNPLEASING 

"Too  many  Gaps 

Capitals  61  40-point  Lower-case  35 

The  Lower-case  is 

CHARMING 

Capitals  69  48-point,  old  body  Lower-case  36 

293 


Italic  Types  of  the  <De  Vinne  'Press 
MODERNIZED  OLD-STYLE  ITALIC 

This  font  of  No.  20  Italic  has 
CAPITALS    WITH   SWASHES 


It  has  no  Italic  Figures 
but  has  Accents 

Capitals  SO1*}  18-point,  old  body.     Bruce          Lower-case  1634 


Although  a  thin  letter,  it  is 

AS  PLAIN  AS  ROMAN 

More  Readable  than  Script 
Has  no  Inclined  Figures 

Capitals  38%  22-point,  old  body.     Bruce         Lower-case  2213 

Italic  is  usually  the 

FACE  SELECTED 

for  Emphasis  or  Display 
i  235  6790 

Capitals  48  28-point,  old  body.     M.  &  R.       Lower-case  26*2 

294 


Italic  Types  of  the  <De  Vinne  'Press 
MODERNIZED  OLD-STYLE  ITALIC 

INCLINE  TION 

of  Kerned  Letters 
not  Excessive 

Capitals  57  36-point,  old  body.     Bruce  Lower-case  29% 


For  smaller  sizes  of  Italic  see  speci- 
mens of  Roman  on  pages  following  133 


ThinSpacingfor 
Letters  that  are 

CRO  WDED 


Capitals  71^  48-point,  old  body.     M.  &  R.         Lower-case  43 

295 


Italic  Types  of  the  1)e  Vinne  'Press 
TITLE  ITALIC 

A   TITLE  ITALIC  OF  LIGHT  FACE 

is  often  selected  for  Subheadings 
All  the   Light  faces  have  figures 

Capitals  25        12-point,  No.  143,  old  body.     Bruce        Lower-case  l?1^ 

THIS  BOLD-FACED  ITALIC  ON 

I8-point  body,  a  mean  mate  for 

Great-primer  No.  13,  may 

serve  for  a  Title  type 

Capitals  28*%  18-point,  old  body.    Bruce  Lower-case 


THE    LIGHT    FACE     OF    TITLE  IT  IS  A    CLEARER    TYPE 

Italic  i»   often  preferred    in   Nev»-  than   the   No     141    Sf    fe     ^ 

papers  and  Circulars  for  paragraphs  .,  „      .         .„    -  _«.    « 

that  are  intended  to  have  More  £t»-  the   e#ect  ™U   be   much  Im~ 

tinction  than  words  in  the  regular  proved  if   Leads   are  freely 

italic  Type  of  Small  size.  used  between  Lines* 

Capitals  12^    Lower-case  S1^  Capitals  16      Lower-case  1034 

6-point,  old  body.     Bruce  8-point,  old  body.    Bruce 


Intermediate  sizes  of  bold  Italic  may  be  found  in  the 
Italics  of  the  No.  13  roman  face  of  the  Bruce  Foundry. 
The  thicker  Italic  of  that  No.  1  series  is  now  out  of  use. 


THESE  TITLE  ITALICS  DO  NOT  LINE  WITH 

Standard  Faces  of  Roman  Type 
They  were  planned  before  the 
Lining  System  was  introduced 

Capitals  1Q34  10-point,  old  body.     Bruce          Lower-case 

296 


Italic  Types  of  the  T)e  Vinne  Press 
TITLE  ITALIC 

From  the  Bruce  Type  Foundry 

FAT  FACE  of  GREAT  BOL.DJVESS 

Thick  Stems  United  with  Thin  Lines 
None  of  the  Fatter  Faces  have  Figures 

Capitals  27*4  12-point  No.  141,  old  body  Lower-case  17 

THE  STYLE  PREFERRED  J^E  VEX  Wf   J»UE«f  SIJTG 

by  many  Adverti.er,   for   it*  bold-  fype  affer  ,nn<  I,  wear.    Its 

TL'  MJ'  "J!?"?"*,  * V'TT"          ™r*f*  ^reak  down.      Thin 

It  hat  Too  .Tf »cr/»  Black  and  Too 

Nettie  WMtt  with**  and  with-  Lines  s ho ic  fffi-fnv,  and  %ts 

out  each  Letter.  counters  cltolff  icttli  ink. 

Capitals  1534        Lower-case  9!4  Capitals  19        Lower-case  121^ 
6-point  No.  141,  old  body  8-point  No.  141,  old  body 

A  r.lK.IKK,ini  SET  SOLID  MY  FAT  FACE 

is  not  so  attractive  as  if  set  in  Light  Face 

Capitals  2134  10-point  No.  141,  old  body          Lower-case 


THIS  BOLD-FACE    ITALIC    wa»  for  Side  or  Cut-in  Notes,    q  Of this  font 

bought  for  service  as  a  proper  letter  for  we  have  two  job  cases.    It  was  bought  for 

Cut-in  Notes  upon  an  octavo  page  of  use  In  the  side  notes  of  pages  for  School 

large  type,  but  it  is  not  recommended  Books.    Useful  for  that  service. 

Capitals  1234  6-point,  old  body.     Farmer  Lower-case  9 


INCLINED  ROMAN 

This  is  ordinary  Roman  of  slanting  form  but  without  any 
of  the  customary  mannerisms  of  Italic.  It  was  designed  by 
L.  B.  Benton  of  the  American  Type  Founders  Co.  for  special 
service.  Select  it  only  when  specially  requested,  and  do  not 
allow  it  to  be  mixed  with  any  of  the  regular  styles  of  italic. 

Capitals  16  10-point  Lower-case 

29T 


Italic  Types  of  the  ^DeVinne  'Press 
TITLE  ITALIC 

From  the  Bruce  Type  Foundry 

ITALIC  of  Old  Fashion 

Capitals  33*2  22-point,  old  body  Lower-case  2112 


PLAIN  and  pleasing 

Capitals  49i*j  28-point,  old  body  Lower-case  29 

USEFUL 

Type  for  Display 

Capitals  61*2  36-point,  old  body  Lower-case  3523 


HAKYAKD  ITALIC 

Boston  Type  Foundry 

Although  classed  with  Title  Types,  it  is  a  trifle  bolder  than 
the  italics  of  the  Didot  Face  and  of  the  bold-faced  Roman 
in  favor  before  1825.  Good  for  Jobbing,  but  not  for  Books. 

Capitals  16  9-point  Lower-case  12 


AN  ATTEMPT  TO  MAKE  a  useful  intermediate 
between  the  plain  italic  of  ordinary  Roman  Type 
and  Fat-faced  or  Title  Type.  Not  neat  in  Books. 

Capitals  19^2  12-point  Lower-case  13 1*2 

298 


Italic  Types  of  the  foe  Vinne  'Press 
ELONGATED  ITALIC 

jmmtm 


Mies 

1234567890 

Capitals  54*2  48-point,  old  body.  Bruce  Lower-case  43 


ANTIQUE  ITALIC 

Is  the  name  given  by  the  type' 
founder  to  this  squared  letter  with 
thick  steins  and  stubby  serifs.  Once 
a  favorite  with  advertisers,  but 
now  seldom  required.  Has  figures. 

Capitals  30  12-point,  old  body  Lower-case  20*2 

299 


Italic    Types  of  the  ^DeVinne  'Press 

CHELTENHAM  BOLD  ITALIC 

From  the  American  Type  Founders  Co. 

CHELTENHAM  BOLD  ITALIC  retain*  THE  ITALIC  FORM  OF  LETTER 

.orne  of  the  pecaliaritie,  of  the  Chelten-  raU    accepted  as  a  connecting 

ham    Old-style  Roman,    bat   it*    general  . 

effect  i,  that  of  an  improper  mate,  for  it  llnk    Between    upright    Roman    and 

was  made  a  type  of  bold  ditplay  and  not  inclined  Script  is  supposed  to  have 

a  text  type.     It»  character*  are  broader,  att    the    clearness  of  the  first  with 

it.  lower.ca.e  much  coar.er,  than  it.  Ro-  SQme  Qf  fhe  gracgs  Qfthe  last.named 

man    prototype.      It  give,  useful   service  a    •        ..             e               .„    f 

in  .howy  adverti.ement.,  but  it  i,  not  ac-  •«>/••      Advertisers  fancy  it   for  its 

ceptable  in  book,  or  even  in  fine  job  work.  visible  departure  from  the  formality 

The  .mailer  *ize.  may  be  approved  for  of  Roman  letter,  in  the  belief  that 

.ub-  and  .ide-heading,,   and  even  a.  a  fhe  inclination  that  gives  emphasis 

text  type  for  small  paragraph*,  but  the  ,     ,.   .                     ,     . 

larger  ,«z«.   are  not  of  good  .ervice  in  to  italicized  words  in  a  roman  text 

book,  of  fine  printing.  will  be  as  forceful  in  lines  of  display. 


Capitals  ll1^  Lower-case  S^      Capitals  1314  Lower-case  9*4 

6-point  8-point 


A  CONCLUSION  NOT  ALWAYS  CORRECT 
A  line  of  Inclined  Type  as  the  heading  of  a  Paragraph  or 
as  a  line  of  display  in  Open  Composition  at  once  attracts 
the  eye  by  its  unlikeness  to  the  Roman  Forms  about  or  be- 
low it.  If  quick  arrest  of  attention  is  the  only  purpose, 
Italic  is  wisely  selected. 

Capitals  l?1^  10-point  Lower-case  1214 


DOES  ONE  LINE  OF  ITALIC 
Interjected  in  many  lines  of  Vertical  Type  improve 
the  general  effect  of  the  Composition  ?     Does  it  not 
weaken  harmony  and  symmetry  ?    Is  it  not  a  False 
Note  in  Music  intended  for  its  harmony  ? 

Capitals  1913  12-point  Lower-case  1314 

OTHER  ATTEMPTS  TO  CHANGE 
Structure  of  Form  in  Letters  have  been  re- 
jected.    Backslope  types  that  lean  backward, 
and  Italian  niceties  that  transpose  thin  and 
thick  strokes,  are  now  entirely  out  of  favor. 

Capitals  23  14-point  Lower-case 

300 


Italic  Types  of  the  <De  Vinne  'Press 
CHELTENHAM  BOLD  ITALIC 

From  the  American  Type  Pounders  Co. 

TYPES  MOST  APPROVED 

by  ordinary  readers  are  upright 

and  of  simple  structure 

Capitals  29%  18-point  Lower-case  2014 


are  straight  and  square 

Capitals  37  24-point  Lower-case  25^ 

FEW  SLANTS  IN 

the  characters  of 
the  early  languages 

Capitals  4514  30-point  Lower-case  Slig 

ARMENIAN 

Preserves  its  Slant 

Capitals  57  36-point  Lower-case  37*2 

301 


Italic  Types  of  the  <De  Vinne  'Press 
CHELTENHAM  BOLD  ITALIC 

From  the  American  Type  Founders  Co. 

OLD  GREEK 

Had  little  Slant 

Capitals  66ig  42-point  Lower-case  44 

ITALIC 

A  kin  to  Script 

Capitals  76  48-point  Lower-ease  51 


ATTRACTIVENESS  is  not  always  increased  in  an  advertise- 
ment by  the  use  of  a  new  and  queer  type  which  may  startle 
the  reader  on  its  first  presentation.  When  other  advertisers 
make  free  use  of  the  same  type,  the  possible  coarseness  and 
imperfections  of  the  design  become  glaring  and  offensive.  It 
soon  becomes  hackneyed  and  goes  out  of  use.  An  examination 
of  the  type-founders'  specimen  books  of  the  last  century  will 
show  hundreds  of  faces  then  approved  and  now  unsalable.  The 
finical,  fantastical  and  florid,  as  well  as  the  needlessly  coarse,  are 
no  longer  tolerated,  but  the  letters  of  simplicity  and  symmetry 
there  shown  are  now  in  greater  favor  than  ever. 


302 


Italic  Types  of  the  ^eVinne  'Press 
POST  No.  2  ITALIC 


THE     OLD     ORDER     CHANGES.  THIS    POST    OLD'STYLE 

Good  form  In  type  and  symmetrical  Jtallc  Was  designed  as  a  mate 

arrangements  of  composition  do  not  ,,           ,        _.        .    x»»_i     .«    »          * 

find  favor  now  with  some  advert*.  f°r  the    Post    Old-style   of   UP< 

ers.     They  seek  uncouth  types  and  right  form.    It  has  some  swash 

careless  typesetting,  apparently  in  letters    and    a    few    Old  *  Style 

the  belief   that  the  Hasty  Reader  characteristics,   but  it  is   of  a 

will  see  artistic  freedom  in  slovenly  ,.    .             ,               .              . 

types  and  careless  workmanship.  lighter  face  than  the  roman. 

Capitals  13             Lower-case  9*2  Capitals  15           Lower-case 

6-point.    A.  T.  F.  Co.  8-point.    A.  T.  F.  Co. 


IT  IS  IN  ORDER  for  any  participant  of  a  masquer' 
ade  to  appear  as  a  count  or  a  coal-heaver,  as  a 
circus  clown  or  a  clerical  of  the  Church.  It  is  cer* 
tain  that  all  who  are  uncouthly  dressed  will  attract 
attention.  Is  it  not  also  certain  that  a  preference  for 
coarseness  is  rated  an  indication  of  personal  taste  ? 

Capitals  18^  10-point.     A.  T.  F.  Co.  Lower-oase  1314 


ADVERTISERS  OF  THE  PrfST 

Hoped  to  merit  special  consid- 

eration through  the  neatness 

of  Types  and  Composition 

Capitals  Sl^  18-point.    A.  T.  F.  Co.  Lower-case  21 


SOME  JIDVEHTISEHS  J\fOLU 

Hope  to  attract  attention  and  secure 

custom  through  uncouth  letter 

Capitals  27  14-point.    A.  T.  F.  Co.  Lower-case  19 


TYPES  OF  GREAT  IRREGULARITY 

Sometimes  of  Studied  Slovenliness  of  Form,  now 

find  Appreciative  Buyers  and  Readers 

Capitals  21*3  12-point.    A.  T.  F.  Co.  Lower-case  15 

303 


Italic  Types  of  the  T>e  Vinne  'Press 
POST  No.  2  ITALIC 

REELING  TYPES 
Mate  badly  with  upright 

Capitals  41  24-point    A.  T.  F.  Co.  Lower-ease  27 


jOT  all  italics  are  thin  and  condensed.  There  are  a  few 
forms  of  broad  face,  but  they  are  arbitrarily  excluded 
from  strict  book  work,  and  find  most  use  in  law  blanks, 
business  forms,  and  ceremonial  printing.  Law  italics  are 
of  light  face  and  not  disfigured  with  the  eccentricities  of  form 
that  are  annoying  to  many  readers.  The  sizes  we  have  are  on 
8-  and  10-point  body. 

Another  style  is  known  as  Hair-line  or  Lithographic,  of  which 
we  have  five  sizes.  Another  style  in  two  sizes,  fanciful  but  read- 
able, is  known  as  Venetian.  Inclined  Roman  on  10-point  body 
may  be  rated  as  italic. 

Display  lines  of  Italic  Capitals  in  all  the  larger  sizes  should  call 
for  unequal  spacing  between  the  letters  that  are  too  close.  A  B 
or  I  W  may  seem  too  close.  W  I  or  V  A  may  seem  too  far  apart. 
In  composition  attempt  should  be  made  to  keep  the  thick  strokes 
equally  distant  by  irregular  spacing. 

The  ungainly  gaps  between  some  capital  letters  of  Italic  and 
the  too  close  meeting  of  other  letters  in  some  specimens  show 
the  types  as  they  have  been  cast  by  the  founders.  In  an  over- 
crowded line  of  words  these  faults  cannot  be  corrected  by  the  com- 
positor, but  they  may  be  in  the  line  that  is  not  crowded.  When 
the  spacing  of  a  line  is  fairly  wide,  thin  leads  or  spaces  of  card- 
board may  be  inserted  to  keep  the  thick  strokes  or  stems  of  meeting 
letters  at  proper  distance.  When  a  wide  gap  appears  between  two 
capitals,  in  a  line  that  has  enough  of  blank  space,  space  other 
capitals  of  the  line  to  hide  this  defect.  Do  this  in  composition, 
before  the  fault  is  marked  by  proof-reader  or  author. 

One  swash  letter  is  enough  in  one  word.  Avoid  repetition; 
when  two  meet  the  effect  is  disagreeable. 

304 


Italic  Types  of  the  ^eVinne  <Press 
NIAGARA 

From  the  Keystone  Type  Foundry 

ITS  SIMPLICITY 

Never  becomes 

Wearisome 

Capitals  37^  30-point  Lower-ease  281s 


NIAGARA 

From  the  Keystone  Type  Foundry 

IS  the  name  given  by  the  Keystone  Type  Foundry  to  their 
series  of  inclined  type  of  very  bold  face,  which  is  here  shown 
in  eight  sizes  from  6-point  to  30-point.  Each  size  has  figures 
of  regular  form  and  full  height.  Although  condensed,  it  is  a  very 
readable  letter.  The  matrices  for  each  letter  have  been  carefully 
fitted  and  proximate  types  in  any  combination  do  not  show  un- 
gainly gaps  or  occasional  interference.  Nor  has  any  attempt  been 
made  by  the  designer  to  add  eccentricity  of  form  or  decorative 
flourishes  to  any  character.  For  this  reason  it  is  much  esteemed 
by  advertisers  and  job  printers  as  a  useful  letter  for  general 
service.  A  hasty  reader  can  take  in  the  intent  of  the  writer  at 
first  glance.  He  is  not  annoyed  by  the  peculiarities  of  flourishes 
or  novel  shapes  which,  in  some  faces  of  type,  lead  him  to  forget 
the  sense  of  words  and  to  study  the  notions  of  the  designer. 


305 


Italic  Types  of  the  DeViiine  <Press 
NIAGARA 

From  the  Keystone  Type  Foundry 

MIRABEAU'S  EXHORTATION: 

BE  BOLD!  BE  BOLD!  BE  BOLD! 

But  not  Overbold. 


WHITE 
SPACE 
BETWEEN 
LINES. 


A  full  page  of  ro/nan  type  set 
in  solid  lower-case  does  not  at- 
tract the  hasty  reader.  It  has 
no  salient  feature.  Its  lines  are 
of  the  same  length  and  each 
line  repeats  familiar  letters  that 


WHITE 
SPACE 
BETWEEH 
WORDS. 


have  no  charm  of  novelty.  If  the  page  has  one 
or  more  paragraphs,  the  reader's  eye  instantly 
seeks  the  white  space  at  the  beginning  or  ending 
of  the  paragraph  as  a  welcome  break  to  monot- 
ony. The  method  of  occasionally  alternating  the 
lines  of  black  print  with  a  little  of  plain  white  is 

approved  by  all  readers.  It 

gives  distinction  and  ease 

in  reference  to  verses  of  the 

Bible,  to  lines  of  poetry,  to 

entries  in  a  dictionary,  etc. 


WHITE 
MARGINS 
ABOUT 
PAGES. 


WHITE 
SPACE 
BETWEEH 
CHAPTERS. 


THIS  IS  RUSKIN'S  REMARK: 

The  eye  is  not  saddened  by 

A  QUANTITY  OF  WHITE 

But  it  is  saddened  and  should  be  greatly 
offended  by  a  QUANTITY  OF  BLACK. 

306 


Italic  Types  of  the  T>e  Vinne  *Press 
NIAGARA 

From  the  Keystone  Type  Foundry 

THE.  ITALIC  USUALLY  FURNISHED   AS   A    PART  OF   A    ROMAN   FONT 

It  often  disliked  by  the  critical  reader  because  it  is  too  faint  and  feeble  to  show  proper  emphasis  on 
a  specified  word  or  phrase.    Firmer  lines  and  a  Bolder  Face  are  needed  in  many  kinds  of  printing 

Capitals  823  6-point  Lower-case  684 


THE  SMALL  CAPITALS  OF  THE  SMALLER  SIZES 

Of  roman  type  are  not,  as  a  rule,  in  any  way  more  pleasing  as  readable  letters.     They 
are  fitted  too  close,  and  often  need  hair-spacing  to  give  them  a  proper  distinction 

Capitals  10  23  8-point  Lower-case  8 

AN  INCLINED  LETTER  IS  PREFERRED 
By  many  writers  as  it  gives  this  desired  distinction  to  some  words 

Capitals  IS^  10-point  Lower-case 


INCLINED  TYPES  OF  BOLDNESS 
Are  now  made  for  Gothic,  Antique,  and  Fat-faced  Styles 
of  Type  as  well  as  for  a  modernized  form  of  Black-letter 

Capitals  15  12-point  Lower-case 


THE  ITALIC  OF  ROMAN  FONTS 
Is  preferred  for  the  Running  Title  and  Subhead 

Capitals  18  23  14-point  Lower-case  14*2 


Capitals  23^$  18-point  Lower-case  1784 

CONTRAST  OF  SHAPE 
Is  demanded  as  well  as  Size 

Capitals  SO1^  24-point  Lower-case  23*3 

307 


Italic  Types  of  the  ^DeVinne  <Press 
KECOKD 


7")  T7/°^  r\  7~)  IT)  /£  TflEflAME  WEN  TO  A 

l\J-j  0  (Jl\LJ  ITALIC  OF  %EMA%KABLE  BEAUTY 

AND  DELICACY,  TW?  1$  FUWtfflED  Iff  A  $E%IE$  OF  FIVE 


$IZE$  OF  CAPITAL  LETTER  FOR 

Capitals  13  10-point,  old  body.     Boston  T.  F. 


IT  MATE&  WELL  WlTfl^LL  TJIE 
OF  ffjUH-LIffE  ITALIC  OR  Tfflff 

Capitals  16  12-point,  old  body.    Boston  T.  F. 


OF  GOOD  J$E%V1CE  Oft  P^PE%  COV- 
F  OltftAMEWTED  PAMPftLET$ 

Capitals  211$  18-point,  old  body.    Boston  T.  F. 


Capitals  30^  24-point,  old  body.    Boston  T.  F. 


FIdltP,E$ 
FOP,  jiLL  TfiE 


Capitals  41^  36-point,  old  body.    Boston  T.  F. 

308 


Italic  Types  of  the  ^eVinne  Press 
HAIE-LINE  GOTHIC  ITALIC 

From  the  Boston  Type  Foundry 


IN   NOTE   AND  LETTER    HEADINGS   OR   CIRCULARS 

the  names  of  Officers,  Directors,  and  Leading  Officials  are  sometimes  required  to  be  set  close  in  very 

small  type.     It  may  seem  more  becoming,  when  these  names  are  set  in  an  Inclined  letter,  to  mate  them 

in  inclination  with  the  Script  that  has  been  selected  for  the  text  or  for  a  large  line  of  display, 

This  Gothic  Italic  is  a  favorite  for  this  purpose 

Capitals  884  6-point,  old  body  Lower-case  G1^ 


NO  STYLE  OF  TYPE  IS  MORE  READABLE 

than  a  clean-cut  Roman  Lower-case,  but  to  many  Buyers  of  Printing,  Roman  is  too 

plain  and  lacks  distinction.     The  Free  Graces  of  Engraved  Lettering  are  preferred, 

and  this  Hair-line  Gothic  is  one  of  the  substitutes  made  to  please  that  demand. 

It  is  indistinct  enough  to  please  the  taste  that  prefers  feeble  expression 

Capitals  lO^  8-point,  old  body  Lower-case  784 


GOTHIC  ITALIC  No.  2 

From  the  American  Type  Founders  Co. 


ANY  LONG  LIST  OF  NAMES,  PLACES,  OR  MERCHANDISE 

ordered  to  be  arranged  in  columns  is  neatly  presented  when  it  is  set  in  a  readable 
but  unobtrusive  type  like  this  Gothic  Italic.  Its  composition  may  be  in  Capitals  or 
lower-case.  Useful  in  Catalogues  of  Books  that  must  be  set  with  great  compact- 
ness. It  has  French  Accents  for  Lower-case.  <J  We  have  one  job  case. 

Capitals  lO^  8-point,  old  body  Lower-case  814 


THIS  HO.  2  FACE  OF  GOTHIC  ITALIC 

from  the  American  Type  Founders  Co.,  can  be  used  in  combination 
wit/i  the  preceding  series.  It  does  not  fill  the  body  and  has  no  kerned 
or  overhanging  fetters.  It  has  Figures  and  a  full  supply  of  French 
Accents  for  Lower-case. 


Capitals  12^  10-point,  old  body  Lower-case  9% 

309 


Italic  Types  of  the  *De  Vinne  'Press 
GOTHIC  CONDENSED  ITALIC 

From  the  Bruce  Type  Foundry 


THIS  LIGHT-FACE  OF  INCLINED  GOTHIC 

Finds  favor  In  Job  Printing  as  a  Proper  Type  of  Display  when  Display  is 
required  in  a  composition  of  Script  or  of  ordinary  Italic.     It  harmonizes 

Capitals  1234  8-point,  old  body  Lower-case  9*2 


CAN  BE  USED  AS  TEXT  LETTER 

in  the  smaller  sizes  for  the  Composition  of  Note  and  Letter 

Circulars  and  for  Mercantile  Blanks.  <I  Of  this  size  we  have 

one  job  case  and  a  sort  case  for  extra  capitals 

Capitals  15  10-point,  old  body  Lower-case  11  ^4 


8HOW8  BEST  WHEN  LEADED 

Leads  are  needed  for  some  of  the  Lower-case  Sorts 

as  are  Kerned  or  Overhang  the  Body 

Capitals  19  12-point,  old  body  Lower-case 


THE  HUDDLING  OF  TYPES 

By  the  Neglect  to  Lead  them  between  the 

lines  is  a  Damage  to  its  Legibility 

Capitals  22*2  16-point,  old  body  Lower-case  16 

SPACE  BETWEEN  LINES 
A  t  least  as  much  as  between  words 

Capitals  27^  20-point,  old  body  Lower-case  19  84 

310 


Italic  Types  of  the  <De  Vinne  'Press 
HAIR-LINE  ITALIC 

Bruce 

Has   a,  more  delicate  Face 
WITH  JAUCH  8HJl^(PEIi  B&IIt-LIJVEB 

It  is  a  style  that  gives  Useful  Service  in  (Pamphlets  for  the  J&ottos 
and  Extracts  that  are  needed  on  other-wise  §lank  (Pages 

We  have  one  job  case  of  this  size 
Capitals  IS1^  10-point,  old  body  Lower-ease 


QHvis  LcuTge   Size  on  (Pica,  is  graced  ~uui£h 

MfiflY  SWf:&&   LE&CTEIiS 

that  find  frequent  use  in  Carrcis,  fillet 

JTotes,  cund,  other  printing  of  HTce  nature 

for  -fLsserriblies  of  Ceremony 

Capitals  24^4  12-point,  old  body  Lower-case  17 


ENGRAVERS'  ITALIC 

Bruce 

IT  WILL  HE  DIFFICULT  to  give  good  reason  for  the  neediest  Strokes  and 
Curves  added  to  tome  of  these  Letters.  They  have  not  made  the  letter  Clearer  or  more 
Graceful;  they  have  served  to  make  the  tetters  perplexing.  Use  it  only  on  request 

Capitals  13 ^4  6-point,  old  body  Lower-case  8^2 


" 


TO  IMfftOYJZ  the  Shapes  of  Type  by 
Artistic"   Touches  are  seldom  successful*, 
or  approved  by  readers 

Capitals  20  10-point,  old  body  Lower-case  1284 

THIS  S?YZ,E  OF  I?dZ,IC  is  inclined  at 
a  low  angle,  and  has  unavoidable  kerns  with 
other  eccentricities  that  are  now  not  approved 

Capitals  23  12-point,  old  body  Lower-case 

311 


Italic  Types  of  the  <De  Vinne  '•Press 
ALDUS  ITALIC 


ECCENTRICITY 

From  tfye  Pacific  State  Type 
Foundry  of  San  Francisco 

Capitals  35*2  24-point  Lower-case  24 


COMECTE'D  LETTERS 

TvOo  forms  of  tf>e  Capital  A  $ 

Quaint  Figures  and  'Peculiarities  sf)ov0 

1234567S90 

Capitals  27  18-point  Lower-case 


ORIGINALITY  OF 
And  Freedom  from  tfje  OCd  Restraints  tfiat  faVe  Been 
Imposed  6y  usage  on  t^e  construction  of  ACp^aBeticat 
Letters.  Serviceable  for  Notes  and  Tickets  and  in  some 
pampfiCets,  But  not  at  ati  commendaBCe  in  &ooK  Word 

Capitals  17  12-point  Lower-case  12 

312 


Italic  Types  of  the  ^eVinne  Press 
LITHOGRAPHIC  ITALIC 

THts  Style,  of  Italic  is  ttrocLcLer  tficun 
t?ie  Lcuw  Italic.    It  ?LCLS  mizcfr  more 

IN  CONSTR  TJCTIOZT 
acceptable  letter  for  sHort  notes 

Capitals  27^  12-point,  old  body.    Farmer      Lower-case  19 ^ 


The  J\£erit  of       lainrLess  is 
added  to  tTiat  of  delicacy 


to  Script  Type 

Capitals  39  18-point,  old  body.    Farmer       Lower-case  26 


Its  I3rooLci  Letters  often 

FILL  J*L  ML^LSUH 

without  Extra  Spacing 

No  Figures  to  this  font 

Capitals  48  22-point,  old  body.    Farmer      Lower-case  28*2 

313 


Italic  Types  of  the  ^DeVinne  '•Press 
LAW  ITALIC 

The  Italic  usually  sold  as  the  Mate  of  Roman  Type  is  a 
Condensed  Letter  that  may  be,  and  often  is,  much  disliked 
in  all  its  smaller  sizes  when  it  has  been  selected  and  set  for 

LEGAL  OR  MERCANTILE  PRINTING 
This  Law  Italic  was  purposely  made  with  a  Broader  and 
More  Readable  Face  to  meet  the  need  for  a  Plainer  Type 
Q  Of  this  we  have  Three  Job  Cases  with  Ordinary  Accents. 
Capitals  IG1^  8-point,  old  body.  Farmer  Lower-case 


It  was  soon  found  that  the  Broadening  of  the  Lower-case 
Series  of  Law  Italic  called  for  Wider  Spacing  between  Words 
and  also  between  Lines.  It  is  not  pleasing  when  set  solid. 

TO  MAKE  SURE  OF  THE  USE  OF  A  LEAD 
the  Brevier  Face  here  shown  was  cast  on  the  Long-primer  body 
to  give  this  needed  legibility,    fl  Of  this  font  we  have  one  pair 
of  cases  with  the  Ordinary  Accents  for  French  and  Spanish. 
Capitals  16 14         8-point  on  old  10-point  body.  Farmer        Lower-case 


A  Larger  Face  of  this  Law  Italic  on  Long-primer 
body  has  been  much  liked  for 

BANKERS'  AND  MERCHANTS'  LETTERS 

It  is  as  plain  as  Roman  and  is  preferred  by 

many  to  Roman.    To  some  buyers  it  is  more 

acceptable  than  ordinary  Scripts 

Capitals  19%  10-point,  old  body.    Farmer  Lower-case  14 

314 


Italic  Types  of  the  *De  Vinne 
ITALIC  ENGRAVERS'  OPEN 

From  the  Farmer  Type  Foundry 


ITALIC  JEN&MAVEMS'    OPEN  IS   ANOTMEXt   IMITATION 

Of  a  style  used  by  line  engravers  of  the  emrly  part  of  the 
nineteenth  century  in  the  lettering  of  their  more  elaborate  inscrip- 
tions.    Its  simplicity  and  delicacy  warrant  its  employment  with  propriety 
as  a  tesst  letter  in  any  kind  of  ceremonial  job  work  and,  even  as  a  type 
of  display  or  of  emphasis  in  a  tenet  of  inclined  Script. 

Capitals  13  6-point,  old  body  Lower-case  884 


THE  BUSINESS  CAMBS  AND  CIMCUJLAMS 


to  Feminine  Tastes,  can  ibe  presented  in  this  style  of  type  \ 
a  much  more  appropriate  manner  than  'by  rough  lettering. 
Capitals  IG1^  8-point,  old  body  Lower-case  11 14 


IT  SHOWS  REFINEMENT 


Capitals  191*}  10-point,  old  body  Lower-case  1334 


THE  DIFFERENT  8IZMS 

of  this  fence  cam  be  combined 
special  justification  in    one   Hne  with 
pleasing  results.    Always  prefer 


Capitals  24i<j  12-point,  old  body  Lower-case  IT 

315 


Italic  Types  of  the  <De  Vinne  '•Press 
SHOW-CAKD 

From  the  Bruce  Type  Foundry 

COMPRESSION 

:H>a</>  not  made  it  obscure 

Capitals  48*2  36-point,  old  tody.    Bruce  Lower-case  28 

WOftSE 
Are  finding  Jirefient  jio 


Capitals  36  24-poiut,  old  body.    Bruce  Lower-case  21 

T&ESE  Oft  ft 1 TIES 
*Do  not  interfere  with  ity  evident  Readability 

Capitals  26^  18-point,  old  body.    Bruce  Lower-case  IS1^ 

IT  IS  NOT  A  FIT  LETTER  FOR  BOOKS 

Too  Fanciful  for  that  application,  but  U  of  Service  in  Job  Printing.    It 

U  well  adajited  for  Note  and  Letter  Circular^  In  which  one  jiaragrafoh  of 

Greater  Dtthlay  may  be  needed  In  a  text  of  Jilaln  Roman  or  Scrijit  Type. 

Capitals  1434  10-point,  old  body.    Bruce  Lower-case  914 


a  helfrful  letter 


Capitals  GS1^  48-point,  old  body.    Bruce  Lower-case  40 

316 


Italic  Types  of  the  £>e  Vinne  '•Press 
SHOW-CARD 

From  the  Bruce  Type  Foundry 


NAME 

Qiifen  to  thtt  Face 

of  Italic.  A  ttemfct  i/>  here 
made  to  add  to  the  Sim* 

Jilicify  of  the  Italic  dome  of  the 
Graced  that  are  quickty  made 


Penmen  in  tkeir  Free-hand  Lettering  on 
6ard4  and  Pa/ier  BoxeJ.  If  fiab  Gen* 

joined  Letferb,  aA  in  (fjjib  (j$  in$  of  hf,  etc.,  on  all  jizej. 

IU  ftyurefr  are  remarkably  broad  and  clear.     Will  be  found 

a  useful  tyjie  for  Pamfihlet  Covert,  for  it  makeb  Sold  fti&fday  even  in  iU 
Jileabtng  departure  from  Standard  Ahajieb.  Unlike  6ome  new  fa6hion6f  it 
doet  not  &u££e&t  studied  blovenlinett  and  a  dttre&ard  of  e&tabltthed  uAage. 

1234567890 


ITS  COJVJOIJYE?)  LETTERS 

eadj,  $£ecei/ifj,  andMercanfilePrinfind. 

Capitals  1915          12-point,  old  body.    Bruce          Lower-case 

31T 


Italic  Types  of  the  *De  'Vinne  "Press 
VENETIAN 

Here  is  a  style  of  type  that  combines  the  Simplicity 
of  plain  Old  Style  Italic  with  its  Swash  Letters,  and 
with  a  peculiar  (Reversion  of  Thin  and  Thick  Strokes 

AFTER  AM  OL®  ITALIAN  FASHION 
(But  the  changes  are  attached  in  a  graceful  and  Inof- 
fensive Manner,  so  that  they  do  not  make  the  new  style 
offensive  by  uncouthness  or  in  any  way  fantastical. 
It  has  Figures  that  mate  with  Lower-case. 

Capitals  19^  12-point,  old  body.    Bruce          Lower-case  13 


This  Venetian  Italic  has  received  the  Full 
Approval  of  Discreet  Buyers  of  Print- 
ing as  a  Fit  Type  for  Circulars,  Cards, 
Letters,  and  Tickets  of  Invitation  to 

SOCIAL    GATHERINGS 
that  have  to  be  prepared  in  haste  and  can- 
not be  printed  quickly  enough  by  the  Slower 
Methods  of  Lithography  or  of  Copperplate. 
Its  Figures  not  so  tall  as  its  Capitals. 

Capitals  27^2  18-point.    Bruce  Lower-casel  6 

318 


Italic  Types  of  the  <De  Vinne  '•Press 
JENSON  ITALIC 


BENSON  ITALIC  HAS  OLD-STYLE  FEATURES 

Including  Swash  Letters  for  a.  few  capitals.  Its  cArabic  Figures  are  of  Full 
Height;  they  Line  with  one  another  and  are  good  Mates  for  its  Capitals  or 
Lcflver-ca.se.  It  'foas  designed  as  the  proper  mate  of  the  Vertical  type  of  that 
name  shown  on  advanced  vages  in  a  series  of  many  sizes. 

Capitals  12%  8-point.    A.  T.  F.  Co.  Lower-case  8% 


When  the  Smaller  Sizes  of  this  Style  are  selected  as  a  text-letter  for 
a  Note  or  Letter  Circular,  lead  the  Paragraphs.  Words  need  not  be 
'widely  spaced,  but the  appearance  of  the  style  is  much  improved  when 
a  fair  white  space  is  maintained  between  the  lines. 

Capitals  1434  10-point.    A.  T.  F.  Co.  Lower-case 


THE  SMALLER  SIZES 

Of  Zfenson  Italic  are  approved  as  Useful  Substitutes  for 
the  regular  Italic  that  accompanies  fonts  of  Roman  Type. 
They  have  firm  lines  and  are  easily  readablef  even  when 
printed  in  the  pale  ink  that  seems  to  be  nolto  in  fashion 

Capitals  18  12-point.    A.  T.  F.  Co.  Lower-case 


APPROVED  <BY  ADVERTISERS 

£fob  Printers  frequently  select  this  face 
for  ^Bill-heads,  ^Receipts,  and  ^Mercantile 
Forms  that  have  to  be  supplemented  with 
words  in  writing.  Its  inclination  favors 
the  addition  of  written  words. 

Capitals  26  18-point.    A.  T.  F.  Co.  Lower-case  161^ 

319 


Italic  Types  of  the  c£)^  Vinne 
DE  VINNE  ITALIC 

Central  Type  Foundry 


WHY  SHOULD  LETTER- PRESS  PRINTERS 
Try  to  imitate  mannerism  of  Lithography  or  Copperplate? 
The  three  arts  are  distinct  in  theory  and  process,  and  not  to 
be  harmonized.  Copperplate  and  Lithography  best  fitted  for 
maps,  ornament  and  pictorial  illustration;  types  for  strength, 
simplicity  and  facile  adjustment  of  letters  and  words 

Capitals  15  10-point  Lower-case  11 


TYPES  NEED  BUT  LITTLE  BRACING 
From  other  branches  of  Printing.  For  more 
than  four  hundred  years  they  have  preserved  the 
Literature  of  the  World,  with  trifling  aid  from 
engraving  or  photography.  Typography  still 
keeps  its  place  at  the  head  of  all  the  Graphic  Arts 

Capitals  19  12-point  Lower-case 


320 


Gothics  and  Runics 


Gothics  and 
LINING  GOTHIC 


A.  T.  F.  Co. 


TUIC        f*f>TIJIf* 

i  n  i  o      vj*j  i  i~i  i  o 
OF     BIG     FACE 

A     STYLE     OFTEN      RE* 
QUESTED      FOR     MANY 

ING      MATTER.           CAN 

AGREES  WITH 

KINDS    OF  JOB    PRINT- 
ING.   IT  IS  PREFERRED 

BE      USED        IN         THE 
LEGEND     LINE    OF    IL- 

SMALL   FACES 

FOR  CARDS.    TICKETS. 
NOTES     AND     LETTER- 

LUSTRATIONS      IN        A 

IN     ADJACENT 

HEADS,   FOR    LISTS    OF 

PORTANCE. 

ROWS  OF  TYPE 

NAMES     AND      THINGS 
IN    CIRCULARS. 

No.  9 

No.  13 

No.  10 

DO    NOT    PUT 

THIS  SERIES  OP  LINING  GOTH- 

A   BORDER    OF 

THICK     FACE 

ICS  FROM  AMERICAN   TYPE 

TYPOGRAPHIC 

BRASS    RULE 

FOUNDERS     COMPANY    HAS 

DECORATIONS 

AROUND  THE 
SQUARES    OF 
ATTENUATED 

FIVE      FACES,     BUT    ALL     ARE 
CAST    ON     6-POINT    BODY 

so    THAT  THEY    WILL    LINE  WITH 

ONE  ANOTHER,  WITHOUT  SPECIAL 

IS     NEVER    SO 
NEAT    AS    THE 
PLAIN      RULES 

TYPE     WHEN 

JUSTIFICATION.   IN    ANY    COMBI- 

WITH    A     HAIR 

THE     LETTER 

NATION.  THEY    CAN  BE    USED 

LINE     ONLY    & 

IS      FEEBLER 

WITH  SATISFACTION    ,N  NAR- 

NO     FLOWERS 

THAN       RULE 

ROW    MEASURES. 

AT      CORNERS 

No.  11 

Nos.  9,  10,  11,  12,  13  combined 

No.  12 

A    TYPE     OF     NOTABLE 

THIS    NO.    2    FACE    18 

THIS   IS    MUCH 

INDISTINCTNESS.        OF 

A    TRIFLE    LARGER    A 

BOLDER.     IT  IS 

SOME     VALUE     IN     THE 

IS    AMPLY    DISTINCT. 

OFTENERUSED 

IMPRINT      BUT    NOT   A 

BUT    IT     IS    A     FRAIL 

IN     PLAIN     JOB 

FIT    TYPE      IN    A    L  ME 

LETTER  THAT  NEEDS 

WORK    OF  CIR- 

TO    EXPLAIN       A    CUT 

CARE     IN      HANDLING 

CULARS    &C. 

No.  1 

No.  2 

No.  3. 

THE  SIZES  HERE  NUMBERED  NOS.  1,  2,  3,  4  ARE  CAST  ON  NONPAREIL 

OR  6-POINT  BODY   TO    LINE  WITH  ONE  ANOTHER  AND  WITH   A 

CORRELATED  SERIES  OF  FIRMER  FACE  NUMBERED  9,  10,  11, 

12,13.     THESE   FONTS    HAVE   UPRIGHT   LINES,  BUT   AN 

INTERMEDIATE  SERIES,   NUMBERED   5,6,  7,  8,  HAVE 

BACKWARD    SLANTING    LETTERS      KNOWN     AS 

BACKSLOPE    GOTHIC.      SEE  PAGE    337 

No.  4 


323 


Types  of  the  ^DeVinne  <Press 
GOTHICS 


A    FULL    ALPHABET    OF    LOWER-CASE 

and  Figures  are  furnished  with  this  font  of  Pearl  Gothic.  This  face  has  been 
found  a  useful  substitute  for  ordinary  italic  in  the  composition  of  matter  in 
which  it  is  necessary  to  crowd  a  deal  of  matter  in  small  space  as  in  indexes, 
advertisements  and  the  descriptions  of  annotated  illustrations,  and  yet  give  to 
print  modified  display.  Note  that  it  has  two  nicks.  Of  this  font  we  have  Two 
Job  Cases.  Do  not  mix  with  the  three-nicked  type  of  same  foundry,  which  is  a 
trifle  smaller  in  face  and  has  no  lower-case. 

Capitals  W^  5-point,  old  body,  2  nicks,  Conner  Lower-case  7 


THIS  FACE  OF  PEARL  GOTHIC,  CAPITALS  ONLY,  HAS  THREE  NICKS  ON  THE  BODY.  IT  IS 
FROM  THE  OLD  CONNER  FOUNDRY.  DO  NOT  MIX  ITS  CAPITALS  WITH  THE  PEARL  GOTHIC 
OF  TWO  NICKS,  WHICH  HAS  A  SERIES  OF  LOWER-CASE,  AND  IS  OF  A  LARGER  FACE. 

Capitals  9  Conner  5-point,  old  body 


THIS  VERY  BOLD  FACE  OF  PEARL  GOTHIC 

from  the  Farmer  Foundry  has  lower-case  and  figures,  and 
Regular  Accents  for  French.  Of  this  font  we  have  one  and  a 
half  cases  and  an  Accent  Case.  It  mates  well  with  Farmer 
Gothic,  Nos.  2  and  3. 

Capitals  1184  5-point,  old  body  Lower-case  8% 


The  word  Gothic  is  used  by  many  persons  as  a  proper  synonym 
for  what  is  rude  or  coarse,  unfinished  or  disagreeable.  The  name 
was  given  with  propriety  many  centuries  ago  to  the  work  of  the 
barbarians  who  devastated  the  south  of  Europe,  but  now  the 
word  has  a  new  application.  Gothic  defines  the  most  finished 
forms  of  church  architecture  in  which  "  stone  is  made  to  look  like 
lace"  as  well  as  to  medieval  manuscripts  in  which  the  general 
somberness  of  the  letter  is  redeemed  by  profuse  ornamentation 
with  gold  and  bright  color.  In  England  Gothic  type  is  called 
Grotesque  or  Sans-serif. 


324 


Gothics  and  panics 
GOTHIC 


SIX-POINT  GOTHIC  NO.  7 

also  from  Farmer  Foundry,  is  apparently  of  the  same  face  as  the  Pearl  Gothic  of  two-nicks  of  that 
foundry.  But  it  is  on  the  6-point  body  and  can  be  used,  although  it  does  not  line  with  all  faces  of 
nonpareil  or  6-point  roman.  Its  capitals  may  be  used  to  advantage  in  catch  lines;  its  lower-casein 
the  minor  legend  lines  under  small  illustrations. 

Capitals  9^4.  6-point  No.  7.     Farmer  Lower-ease  B1^ 


SHOWS  TO  BEST  ADVANTAGE 

as  a  sub-heading  when  the  line  is  short  and  sur- 
rounded by  an  abundance  of  white  space 

Capitals  21  10-point  No.  3,  old  body.     Farmer  Lower-case  14 


ITS  SIMPLE  CONSTRUCTION 
without  serifs  and  with  plain  and  bold  lines 
make  it  one  of  the  most  readable  faces  of  type 

Capitals  20!^  12-point  No.  4,  old  body.    Conner  Lower-case  15 


A     SLIGHTLY     EXPANDED     FACE     OF    GOTHIC     BUT 
WITHOUT    FIGURES    OR     LOWER-CASE 

Capitals  17  8-point  No.  200,  old  body.     Bruce 

ANOTHER  BROAD  FACE  OF  CAPITALS  ONLY 

Capitals  1914  10-point  No.  200,  old  body.     Bruce 


HAS  CAPITALS 

SMALL  CAPITALS 

Capitals  52  28-point  No.  5,  old  body.     Farmer  Small  capitals  40 

325 


Types  of  the  <De  Vinne  'Press 
GROTESQUE  GOTHIC 


THIS   SERIES   OF    GOTHIC    CAPITAL    LETTERS    CONSISTS  OF    SEVE^    SIZES,    HANGIN8 
FROM    6-POINT  TO  22-POINT.      IT   IS  OF  SKELETO^I    OR   HAIR-LINE  FACE, 
THE  LETTERS  ARE  FITTED  WITH   UNUSUAL  CLOSENESS 

6-point,  old  body  Capitals  914 


IT  HAS  fJO  LOWER-CASE  SORTS,  BUT  ITS  FIGURES  y\RE  OF  FULL  HEIGHT 

y\ND  GOOD    FORM  AND   LINE  J-JEATLY  WITH  THE  CAPITAL  LETTERS 
Capitals  1084  8-point,  old  body  Small  capitals  9*4 


THE   NAME   GROTESQUE    SEEMS    TO   BE  GIVEN    TO   IT   TO 

EXPLAIJM   THE   PRESENCE   OF  THE   FEW  QUIRKS 

y\DDED  TO  A   FEW  CAPITALS 

10-point,  old  body  Capitals  13*2 

THE  SIZES  8-  12-  AND  14-POINT  HAVE  A  SERIES  OF 

SMALL  CAPITALS,  AND  THEIR  SMALL    CAPITALS 

y\LSO  HAVE  FIGURES 

Capitals  1614  12-point,  old  body         Small  capitals  13*2 

A  STYLE  OF  TYPE  OF  MOST  USE 
IN  TYPE  WORK  OF  GREAT  LIGHTNESS  &  DELICACY 

Capitals  18  14-point,  old  body  Small  capitals  16 

THIS  SIZE  HAS  NO  SMALL  CAPITALS 

18-point,  old  body  Capitals  2214 

LARGER  SIZES  NEED  SPACING 

22-point,  old  body  Capitals  28 

326 


Gothics  and 
GOTHIC  NO.  10 

Cincinnati 

ALL    SIZES    OF    THIS    NO.  10    GOTHIC   SERIES   HAVE 
FIGURES  BUT  THEY  HAVE  NO   LOWER-CASE 

Capitals  15i<j  8-point,  old  body 

THE  FACE  WHOLLY  COVERS  THE  BODY 

Capitals  19*2  10-point,  old  body 

NO  ROOM  LEFT  FOR  A  LOWER-CASE 

Capitals  23  12-point,  old  body 

ROOM  FOR  INTERIOR  QUIRKS 

Capitals  27  16-point,  old  body 

INTENDED  TO  GIVE   IT 
/cDDITIONAb  (BRACE 

Capitals  34  1 8-point,  old  body 

SEEMS  TOO  SEVERE 
IN  SIMPLICITY 

Capitals  4012  22-point,  old  body 

ARE  QUIRKS  OF 
REAL  GRACE? 

Capitals  52  28-point,  old  body 

32T 


Types  of  the  ^eVinne  'Press 
GOTHIC  No.  127 

American  Type  Founders  Company 


GOTHIC   NO.    127    HAS  A  LARGE  FACE  ON  A  VERY 
SMALL  BODY.     NO  SHOULDER.     PLAIN  FIGURES 

Capitals  16!^  8-point 


ITS  TEN-POINT  SIZE  IS  ALSO  LARGE 
HERE  ARE  ITS  BOLD  FIGURES 
1234567890 

Capitals  20^  10-point 


GOTHIC  No.  123 

American  Type  Founders  Company 

GOTHIC  NO.    123  HAS  A  SMALLER  FACE 

Its  lower-case  sorts  do  not  project  over  its  body,  and  its  capitals  will 
line  truly  with  many  faces  of  regular  roman.  But  it  is  exceedingly 
feeble  in  its  general  effect,  and  shows  to  best  advantage  when  it  is 
set  for  an  entire  paragraph.  Its  capitals  are  good  for  catch  lines  of 
pamphlets  or  running  titles  of  long  lines  that  are  intended  to  receive 
much  wear  on  long  editions  of  presswork. 

Capitals  13*2  8-point  Lower-case  934 


THE  TEN-POINT  OF  THIS  FACE 
has  more  firmness  of  face  and  is  occasionally  selected 
for  paragraphs  in  a  modified  display  and  for  short  note 
circulars.  It  lines  with  many  roman  text  types,  but  is 
not  distinct  enough  for  side  headings.  Here  are  its 
figures:  1234567890. 

Capitals  16%  10-point  Lower-case  12 


328 


Gothics  and  panics 
LIGHT-FACE  GOTHIC  No.  201 


THE    LIGHT-FACE     GOTHIC    No.    20,     OF  TH  E  SIZES  FROM  SIX- TO  TWELVE- 

THE  BRUCE  FOUNDRY  ha*  for  each  size  a  n^iki-r     r   i  •     it 

complete  series  of  lower-case  sorts  and  figure,.  POINT  of  this  No.  2O.  Style  are  of  most 

The  figures  are  modeled  on  the  old-style  forms  service  in  the  more  dainty  and  delicate 

of  unev.n  height  and  not  on  line  with  the  cap-  forms  of  Job  prjntjng.      Not  SO  pleas- 

itals.     This  size,  on  nonpareil  body,  is  in  two  .                            .                                            ' 

cases,  and  it  has  lower-case  sorts  and  accents.  ing  in  Advertisements  and  Book  Work. 

Capitals  10              Lower-case  7  Capitals  11%       Lower-ease  834 

6-point,  old  body.     Bruce  8-point,  old  body.     Bruce 


IT  LINES  NEATLY  WITH  SOME  ROMANS 
But  it  is  not  emphatic  and  makes  but  a  feeble  display  with  Roman. 

This  size  also  has  some  French  accents 
Capitals  1414  10-point,  old  body.    Bruce  Lower-ease  10 


THIS  VARIATION  OF  THE  NEW  GOTHIC  FACE 

From  the  Farmer  Foundry,  is  on  Small-pica  body  and  on  a  narrower  set. 

It  has  Two  Sets  of  Figures —  12345   Regular  and  68  90  Inferior 

Capitals  1314          11-point,  old  body,  No.  7.    Farmer          Lower-case  9 


THIS  SIZE  HAS  FIRMER  LINES 

But  it  must  be  classed  as  a  Gothic  of  very  Light  Face. 

Of  this  font  we  have  two  cases 

Capitals  20  12-point,  old  body.    Bruce          Lower-case  11 34 


ITS   CAPITALS    NEED    SPACES 
Between  all  letters  too  closely  fitted 

Capitals  28  18-point,  old  body.     Bruce  Lower-case  19 

THE  UNSPACED  ES 
or    HIM    is    unsightly 

Capitals  41^  24-point,  old  body.    Bruce  Lower-case  30 

329 


Types  of  the  ^DeVinne  *Press 
LINING  GOTHIC  No.  520 

From  the  American  Type  Founders  Co. 

THIS  CUT 

42-point  Capitals  86*% 

OF  NO.  52O 

36-point  Capitals  7513 

LINING  GOTHIC 

30-point  Capitals  56 

HAS  ONLY  EIGHT 
BODIES  AND  NO 

24-point  Capitals  48 

LOWER-CASE  LETTERS 

18-point  Capitals  38 

THE  BODIES  CAN  BE  COMBINED 

12-point  Capitals  2  6*3 

TO  LINE  ONE  WITH  ANOTHER  BY  A  PROPER 

10-point  Capitals  20^ 

ARRANGEMENT  OF  THE  LEADS  AND  QUADRATS 

THAT  HAVE  BEEN  CAST  ON  THE  POINT 

SYSTEM  FOR  THIS  PURPOSE 

8-poiut  Capitals  16 

330 


Gothics  and  panics 

GOTHIC 

IS  A   MISLEADING    NAME 

NOT  AN   OUTGROWTH   OF  BLACK-LETTER 

IT    IS  A    RUDE    IMITATION    OF  THE 

EARLIEST  FORMS  OF   ROMAN 

LETTER    CUT    IN    STONE 


THIS    FACE    OF  TYPE 

IS    KNOWN    IN    GREAT    BRITAIN    AS 

GROTESQUE 

IT  IS  THE  SIMPLEST  FORM 
OF  LETTER,  WITH  STROKES 
NEARLY  UNIFORM  IN  THEIR 
THICKNESS,  AND  WITHOUT 
SERIFS,  FOR  WHICH  REASON 
IT  IS  SOMETIMES  CALLED 

SANS-SERIF 


THE  LINING  GOTHIC  No.  520  TYPE 

331 


Types  of  the  ^De  Vinne  'Press 
LINING  GOTHIC  No.  545 

From  the  American  Type  Founders  Co. 

THIS  LINING  GOTHIC  No.  545  Has  been  planned  and  cast  that  Its  many 

Capitals  12*2  6-point  Lower-ease  9*2 

VARIED  SIZES  OF  CAPITALS  and   lower-case  can  be  combined 

Capitals  14  8-point  Lower-case  lO1^ 

MUCH   MORE  READILY  than  with  the  ordinary  types  and 

Capitals  16  9-point  Lower-case 


TO  LINE  TRULY  WITH  one  another  as  needed 

Capitals  2012  10-point  Lower-case  14 

FOR  EXAMPLE!  1  8-point  body  can  be  set 

Capitals  22*2  12-point  Lower-case  15*2 

TO  LINE  WITH  the  48  -point  body 

Capitals  26^  14-point  Lower-case 


OR  a  6-POINT  with  a  14-point 

Capitals  31  18-point  Lower-case 


WITHOUT  a  justifying  by 

Capitals  38  24-point  Lower-case 


PAPER  or  cards 

Capitals  591"  36-point  Lower-case  40^ 

POINT  system 

Capitals  70*2  42-point  Lower-case  471a 

SURE  lining 

Capitals  80  48-point  Lower-case  53 

332 


Gothics  and  panics 


The  bold  Gothic 
fashion  of  letter 
appears  to  best 
advantage  when 
It  is  represented 
on  a  large  body. 


A  PARAGRAPH 
in  Gothic  is  not 
very  comely,  but 
it  is  easily  read. 


Small  letters, 
like  the  a  e  s, 
with  crossing 
lines  in  center 
are  not  clear. 


MEETING    LETTERS 

with  tall  lines  need  Uneven  Spacing. 

Even  Spacing  produces  Unsightly  Gaps. 


CAPITALS  ONLY 

or  lower-case  only 

BECOME  MONOTONOUS 


A    SERIES    OF    LINING    GOTHICS 

is   of  service   in   displayed  work. 


GOTHIC    OF    SMALL    SIZE    OFTEN    USED 
for   legend    lines    under   illustrations. 


Gothic  needs  much  Relief  of  White. 


The  very  thick 
line  upon  any 
body  of  small 
size  fills  up  too 
much  of  a  face. 


The  DeVinne  Press 

has  many  other  faces  of  this 

approved  character. 


Dense  lines 
produce  too 
little  white, 
much  black. 


THE  LINING  GOTHIC  No.  545  TYPE 
333 


Types  of  the  'DeVinne  'Press 
BOLD  FACE  GOTHIC 

THIS    FACE    OF    GOTHIC 

Is  the  practical  extreme  of  boldness.  A  thicker  stroke  would 
make  the  capitals,  figures  and  lower-case  blacker  but  more 
indistinct.  Of  this  font  we  have  two  cases;  one  with  accents 

Capitals  1434  6-point  No.  3,  old  body.     Farmer  Lower-case  11 

A  THICK  FACE  APPROVED  BY  ADVERTISERS 

Which  will  take  a  Generous  Supply  of  Ink.  Of  this 
font  we  have  Two  Job  Cases  and  some  Accents 

Capitals  18  8-point  No.  2,  old  body.     Farmer  Lower-case  13 

GOOD  FOR  FAILING   EYESIGHT 

Easily  Readable  without  strong  Glasses. 
Of  this  font  we  have  One  Pair  of  Cases 
and  One  Job  Case  with  a  few  Accents 

Capitals  22^  10-point  No.  2,  old  body.     Farmer  Lower-case  16 

OF  SERVICE  IN  HAND-BILLS 

No  Uncertainty  in  any  Type.    Of  this 

font  we  have  One  Pair  of  Cases 

Capitals  28  12-point  No.  2,  old  body  Lower-case 


SHOWS  RED  INK 

Better  than  fat-face  Types 

Capitals  38  18-point  No.  203,  old  body.    Bruce  Lower-case  27 

STYLE    GLOOMY 

as  in  a  Black-letter 

Capitals  50  24-point  No.  203,  old  body.    Bruce  Lower-case  54^ 

334 


Gothics  and  panics 
BOLD-FACE  GOTHIC 


SANS-SERIFS 

Capitals  53^        28-point  No.  2,  old  body.     A.  T.  F.  Co.     Has  no  lower-case 

MOURNFUL 

Capitals  70  36-point  No.  200,  old  body.     Bruce  Has  no  lower-case 

LETTER 

Capitals  100  48-point  No.  200,  old  body.     Bruce        Has  no  lower-case 


THIS   FACE  OF   NONPAREIL   GOTHIC 

from  the  Farmer  Foundry  is  frequently  selected  by  advertisers  for  a  list  of  articles  to  be 

displayed  in  separate  lines  and  in  narrow  columns.      So  treated  they  should 

have,  when  space  will  allow,  double  leads  between  the  lines 

Capitals  10^  6-point,  old  body.     Farmer  Lower-case  71^ 


THIS  BOLD  FACE  OF  GOTHIC 

does  not  line  neatly  with  any  ordinary  lower-case  of  roman, 
but  even  with  this  defect  it  is  preferred  by  many  writers 
of  catalogues  for  the  side  headings  of  solid  paragraphs 

Capitals  IS1^  8-point  No.  3,  old  body.    Farmer  Lower-case  12 


FIGURES  SHOW  MUCH   CRUDITY 

Capitals  25  12-point  No.  200,  old  body.     Bruce 

IT  HAS  BOLD  LETTERS  AND 
PLAIN   FIGURES 

Capitals  32^  16-point  No.  200,  old  body.     Bruce 

335 


Types  of  the  T>e  Vinne 
CARD  GOTHIC 


\\)&  fancies  of  an   Qnaraver   of   Dusiness   oards   and 

Ceremonial  sjptationery,   mucf?  admired   in   its  time 

for  its  "artistic      disreaard   of  accepted 

usacje  in  tl?e  formation  of  letters. 

yf  tl?is  si|e  we  l?ave  two  pairs 

and  one   iob  case 


ITS  SMALL  CAPITALS  ARE  DECIDEDLY  ITS 
M0ST  PLEASING  FEATURE 

Capitals,  2214  Small-capitals,  19  Lower-case,  19 

18-point,  old  body 


^H^^  80 RB 

Qarger  Pace  903  no  series  of  ©mall  Oapitals. 

6  I 

ots    fiaures    are    aood ;    its   capitals   are    incoherent. 
t3o  not  select  capitals  for  ordinary  work  without  order 

Capitals  28^  24-point,  old  body  Lower-case  1214 


336 


Gothics  and  panics 
BACKSLOPE  LINING  GOTHIC 

Has  figures,  but  no  lower-ease 


UHVHG, 

\H      S\lt 

e\n 

MA.   KRt    OH    THt 
BOOX 


TO    UHt 

WIN   THt 

\H    StPAtS 


\H  k 

•UOH.     OOH'T  «\X 

\H    HKSTt.      \-00». 


\H    COWPOSUVOS. 
•JHV8    St?i\tS    HKS 

HO  vov^tp^-c^st•. 

BUT  \T  00  tS  HlOJt 
?\G\JRtS 
SMt 

No.  5 


VJStO  ?RO?tU\_X  \H 
N  \_\ST  0^  ^kVAtS 
0?  PtRSOHS  OR  0? 


0V 


\H 


1      TO 


\S 


J\iST  \V\CM\OH. 
No.  7 


00    HOT     USt    TH\S 
StRVtS      0V 

s\.o?t 


0V 


STRONG 


0V 


0V    U?R\GHT    UHV.S 

No.  6 


0V 
Ntttt 


0V 


10 


SIXV.^. 


OU  COPPER, 


T\\\S 


\NVA\C\\ 


0V 
L 
No.  8 


These  faces  are  on  6-point  body  and  are  made  to  line. 

For  an  inclined  Gothic  with  the  regular  Italic  slant  see  pages 
309-310.  There  are  three  series,  and  each  one  has  lower-case  sorts . 


33T 


Types  of  the  <De  Vinne  'Press 
GOTHIC  CONDENSED  No.  240 

Bruce 

This  series  consists  of  nine  sizes  ranging  from  6-  to  48-point. 

The  absence  of  serifs  permits  the  gothic  character  to  be 
huddled  until  it  is  hard  to  read,  but  the  style  is  much  favored 
by  advertisers  for  it  enables  many  letters  to  go  in  one  line. 

All  the  sizes  in  this  series  have  figures  and  lower-case  sorts. 

All  shapes  of  gothic  may  need  occasional  letter  spacing  for 
capitals,  which  can  be  a  hair  space  in  the  smaller  and  a  5-to-em 
space  in  the  larger  sizes. 

It  also  needs  generous  leading.  A  condensed  gothic  of  firm 
face,  unleaded  and  filling  the  body,  makes  composition  hard  to  read. 


TO  THE   ADVERTISERS   WHO   DESIRE   PLAINNESS   AND   SIMPLICITY 
no  form  of  type  seems  to  promise  better  service  than  that  which  American  type  founders  have  labeled 
Gothic.    It  has  no  serifs.    As  a  rule,  all  its  strokes  are  of  same  width,   and  no  stroke  is  without  a 
definite  legible  purpose.    The  eye  is  not  confused  by  hair-lines  that  carry  with  them  no  meaning. 

Capitals  9  6-point,  old  body  Lower-case  634 


FOR  A  SINGLE  LINE  OF  DISPLAY  IN  CAPITALS  OR  LOWER-CASE, 

Gothic  fully  meets  the  advertiser's  need,  when  it  has  been  selected  for  a  proper 
size  of  width  and  stem,  but  it  calls  for  discretion  in  spacing  and  leading, 
Capitals  11  8-point,  old  body  Lower-case  814 


NO  CHARACTER  IS  MORE  DISAPPOINTING 
when  it  has  been  composed  for  a  solid  paragraph  of  many  lines, 
Composition  in  unleaded  Gothic  type  always  presents  a  crude, 
scraggy  and  huddled  appearance, 

Capitals  14  10-point,  old  body  Lower-case  10 


A  LONG  PARAGRAPH  SET  UP  SOLID 
entirely  in  Gothic  of  firm  face  is  not  so  readable  as  the 
same  matter  would  be  if  set  in  roman  of  lighter  face, 

Capitals  1714  12-point,  old  body  Lower-case  13 

338 


Gothics  and  panics 
GOTHIC  CONDENSED  No.  240 

Bruce 

SERIFS  AND  HAIR-LINES  ARE  USEFUL 
They  keep  types  apart  and  aid  readability 

Capitals  21  18-point,  old  body  Lower-case  IG1^ 

SIMPLICITY  IS  DESIRABLE 
But  legibility  is  even  more  important 

Capitals  24*2  22-point,  old  body  Lower-case  18*2 

THIS  SERIES  OF  GOTHIC  TYPE 
Has  Good  Figures  In  all  Its  Sizes 

Capitals  271^  28-point,  old  body  Lower-case  23 

ALL  GOTHIC  CAPITALS 
Need  a  Spacing  of  Letters 

Capitals  33  36-point,  old  body  Lower-case  281% 

VERTICAL  LINES 
Maycrowdtooclosely 

Capitals  40  48-point,  old  body  Lower-case  34 

339 


Types  of  the  *De  Vinne  'Press 
GOTHIC  CONDENSED 


THESE  LIMES  ARE  VERT  MUCH  TOO  THICK.      TAKE  NOTE  OF  THE  OBSCURITY  OF  THE  CONDENSED  TYPES 
Capitals  7^2  5-point,  old  body,  No.  243  A.  T.  F.  Co. 


THIS  SIZE  HAS  NO  LOWER-CASE,  BUT  IT  HAS  WELL-DEFINED  FIGURES 

Capitals  llig  10-point,  old  body,  No.  242  Bruce 


THIS  CONDENSED  TYPE  TAKES  IN  MANY  LETTERS  TO  A 
LINE,  BUT  IT  HAS  NO  CLEAR  LOWER-CASE 

Capitals  15  12-point,  old  body,  No.  242  Bruce 

AND  THE  LETTERS  ARE  THIN  AND 
SOMEWHAT  INDISTINCT.  NO  LOWER-CASE 

Capitals  181$  16-point,  old  body,  No.  242  Bruce 

THINNER  THAN  THE  FACE  ABOVE 
But  it  has  a  lower-case  on  great-primer  body 

Capitals  18          18-point,  old  body,  No.  2.    Farmer.    Lower-case  1434 

IT  IS  THE  ADVERTISER'S  CHOICE 
For  the  display  of  a  line  of  many  words 

Capitals  2114    20-point,  old  body,  No.  242.    Bruce.     Lower-case  1784 

BUT  IT  NEEDS  THE  RELIEF 
of  Smaller  type  or  of  White  Blanks 

Capitals  241$         24-point,  old  body,  No.  2.     Farmer.    Lower-case  20*2 

340 


Gothics  and  panics 
GOTHIC  CONDENSED  No.  37 

From  the  Conner  Foundry 

AN  OLD  FORM  OF  GOTHIC 
In  3  series  :  Capitals,  Lower-case 
and  SMALL  CAPITALS  with  figures 

22-point 
Capitals  27*2  Lower-case  2012  Small  Capitals  21*2 


THE  SMALL  CAPITALS  OF  THIS  SERIES 


Can  be  used  separately  so  as  to  provide 


EIGHT  SIZES  OF  CAPITAL  LETTERS 


18-point 
Capitals  20*2  Lower-case  16  Small  Capitals  1534. 


FOR  LINES  THAT  HAVE  MANY  WORDS 

Like  names  in  advertisements  of  book  publishers 
THIS  HO.  37  SERIES  WILL  BE  OF  SERVICE 

12-point 
Capitals  15*2  Lower-case  1314  Small  Capitals  1214 


CONDENSED  GOTHIC  HAS  ITS  LIMIT  OF  USEFULNESS 

It  must  not  be  huddled.    It  needs  the  relief  of  white  space  or  the 
FREE  USE  AROUND  IT  OF  SMALL  AND  BRAY  ROMAN  TYPE 

10-point 
Capitals  1214  Lower-case  lO^  Small  Capitals  11 

341 


Types  of  the  <De  Vinne  <Press 
GOTHIC  CONDENSED 

NOT  CLOSELY  FITTED 
Has  white  between  its  letters 

Capitals  33        24-point,  old  body,  No.  242.    Bruce.     Lower-case  23*2 


BOLD  AND  BLACK 


with  thick  lower-case 


1234567890 

Capitals  421$     36-point,  old  body,  No.  242.    Bruce.    Lower-case  33 

CAPITALLETTERSONLY 

Capitals  35  36-point,  old  body,  No.  241  Bruce 

NEEDS  SPACING 

Capitals  44  40-point,  old  body,  No.  242  A.  T.  F.  Co. 

342 


Gothics  and  panics 
GOTHIC  CONDENSED  No.  123 

A.  T.  F.  Co. 

A  CONDENSED  GOTHIC  WITH  PLAIN  FIGURES 
Will  prove  of  good  service  In  labels  or  advertisements  In  which  much  matter  has 

to  be  crowded  in  a  very  small  space 
Capitals  lOi^  8-point  Lower-case  724 


WHEN  USED  IN  CONSECUTIVE  LINES 
Composition  will  require  wide  leading  and  sometimes  double  leading 

Capitals  1284  10-point  Lower-case  9§4 


ELZEVIE  LINING  GOTHIC  No.  2 

A.  T.  F.  Co. 

THE   TYPOGRAPHIC   PRINTERS   OF   GERMANY 
Recently  have  protested  to  the  Type  Founders  of  that 
country  against  the   needless   making  of  any  new  style 
that    closely  imitates   another  style  by  a  rival   founder 

Capitals  1423  10-point  Lower-case 


FACES  THAT   SEEM   TO   BE   ALIKE 
Produce  confusion  in  any  printing-house.    They  do 
not  benefit  the  buyer;   they  do  increase  expense 

Capitals  1684  12-point  Lower-case  1314 


AN  EXCESS  OF  NEW  FACES 
Does  not  improve,  but  damages  composition 

Capitals  20  14-point  Lower-case  16 

343 


Types  of  the  T)e  Vinne  'Press 
EONALDSON  GOTHIC 

From  the  American  Type  Founders  Co. 

WERE  MORE  FACES  OF  GOTHIC  needed  for  useful  or  decorative  printing  ? 

Capitals  11  8-point  Lower-case  10 

WERE  THERE  NOT  ENOUGH  to  please  fastidious  tastes? 

Capitals  14  10-point  Lower-case  12 

ADVERTISERS  SAY  NO;   We  want  something  fresh 

Capitals  15  i<j  12-point  Lower-case 


THE  RONALDSON  GOTHIC  is  a  recent  production 

Capitals  1613  14-point  Lower-case  14*2 

MANNERISMS  of  a  decided  novelty 

Capitals  21%  18-point  Lower-case  1884 

SOME  STUDY  NEEDED  to  dis- 
cern these  novel  mannerisms 

Capitals  26!<j  24-point  Lower-case  22% 

STIFF  CURVES  in  small 

Capitals  34ig  30-point  Lower-case  29lg 

and  ROUNDED  types 

Capitals  40  36-point  Lower-case  341$ 

IT  SHOWS  black 

Capitals  4884  48-point  Lower-case  43*3 

344 


Gothics  and  panics 


ECCENTRICITIES 

LINE  OF  TYPE  can  be  bent  in  the  form  of 
a  circle,  to  any  arc  of  a  circle,  in  serpen- 
tine curve,  or  it  can  be  twisted  upward  or 
downward  at  any  inclination.  All  these  ex- 
periments in  what  properly  may  be  called 

TYPOGRAPHICAL  GYMNASTICS 

are  attempts  to  force  squarely  constructed  types  in  curved 
or  angled  positions  for  which  they  were  never  designed, 
and  into  which  they  can  be  unmechanically  fitted  only  at 

A  Serious  Waste  of  Time 


The  unavoidable  increase  of  ex-  more  than  that  of  plain  work, 
pense  in  a  composition  of  this  After  an  inspection  of  compost- 
character  is  usually  greater  than  tion  so  constructed  these  ques- 
was  estimated,  and  many  times  tions  of  doubt  may  arise: 

IS  ANY  FORM  OF  ECCENTRIC  COMPOSITION 
WORTH  ITS  EXTRA  COST? 

An  advertisement  is  written  to  be  read  and  remembered,  but  which 
one  of  its  features  makes  most  lasting  impression  on  the  reader: 
the  ingenuity  of  the  compositor?  or  the  words  and  the  plain 

INTENTION  OF  THE  ADVERTISER? 


THE  EONALDSON  GOTHIC  TYPE 
345 


Types  of  the  <De  Vinne  'Press 
LINING  SCHOEFFER,  OLD-STYLE  No.  2 

From  the  American  Type  Founders  Co. 

WHY  IS  THIS  TYPE  NAMED  OLD  STYLE  ?     It  is  plain,  but  it  has  no  old-style  features 

Capitals  10  8-point  Lower-case  8 

ALTHOUGH  THIN  IT  IS  BOLD.     It  does  not  lose  clearness  by  its  thinness 

Capitals  12  10-point  Lower-case  9 

UNLIKE  MANY  OF  THE  GOTHICS  in  other  specimen  pages 

Capitals  14*2  12-point  Lower-case  11 

THE  STRUCTURAL  LINES  arc  not  of  the  same  width 

Capitals  IT1^  14-point  Lower-case  13 


THE  THINNER  LINE  Occasionally  Attached 

Capitals  21  18-point  Lower-case 


ADDS  MUCH  to  needed  perspicuity 

Capitals  27*2  24-point  Lower-case  21 

REGARD  THE  white  within 

Capitals  34*2  30-point  Lower-case  25^ 

THETYPESasanaidto 

Capitals  41  36-point  Lower-case  31 

RESTFUL  reading 

Capitals  54  48-point  Lower-case  40 


Capitals  68  60-point  Lower-case  49!^ 

346 


R 


Gothics  and  panics 

AISED  LETTERS  FOR  THE  BLIND 

of  Gothic  form,  read  by  the  sense  of  touch. 


TYPES  OF  METAL 
cast  upon  square  and 
solid  bodies  are  not 
constructed  for  flat- 
tening or  compression, 
or  even  to  be  curved 
to  the  arc  of  a  circle. 
Types  set  up  to  form 
words  are  equally  in- 
flexible. There  are 
few  words  that  can 
be  contracted  wisely. 
To  shorten  words,  as 
was  done  by  the  early 
copyists,  is  now  rated 
as  an  exhibit  of  care- 
lessness or  ignorance. 


Many  advertisers  prefer 

GOTHIC 

TYPE 


as  the  most  readable 
form  of  letter. 


GOOD  TASTE 
orders  that  words 
shall  be  printed 
in  full,  and  that 
they  shall  be  di- 
vided at  ends  of 
lines  on  syllables 
only.  It  is  to  keep 
together  the  syl- 
lables, and  to  pre- 
vent the  division 
of  words,  that  con- 
densed types  are 
kept  in  use. 


THE  REMOVAL  OF  SERIFS 
enables  letters  of  a  Gothic 
shape  to  be  moderately  com- 
pressed without  much  loss  of 
legibility,  but  the  extra-con- 
densed and  hair-line  Gothics 
give  a  strain  to  weak  eyes. 
Use  them  only  when  ordered. 


HAIR-LINE  GOTHICS 
and  all  weak  characters 
are  admirable  exhibits  of 
the  skill  of  the  designer, 
but  they  are  torment  to 
all  who  need  and  do  not 
make  use  of  strongglasses. 


•INING  SCHOEFFER  is  an  acceptable  type  for 
a  heading  in  a  compacted  advertisement,  or 
Lafor  a  paragraph  of  many  words.  The  broader 
form  of  Gothic  is  more  pleasing  when  it  can  be 
surrounded  by  plenty  of  white  space. 

THE  LINING  SCHOEFFEE  OLD-STYLE  No.  2  TYPE 
347 


Types  of  the  <De  Vinne  <Press 
BELLA  ROBBIA 

Bruce 

DELLA  ROBBIA 

Capitals  45  30-point 


IS  A  NEW  VARIETY  OF  LIGHT -FACED  GOTHIC 

That  preserves  many  Old'Style  mannerisms.     For  Advertisements  set  in  open  style,  with 

abundance  of  surrounding  white  space,  for  Pamphlet  Covers  and  Announcements 

intended  to  convey  a  suggestion  of  Good  Taste  in  the  selection  of  Type,  Delia 

Robbia  will  prove  a  useful  addition  to  typography 

Capitals  11%  8-point  Lower-case  T1^ 


DELLA  ROBBIA  WAS  A  SCULPTOR 

Of  Florence  in  the  Fifteenth  Century  and  eminent  as  the  Designer, 

Modeler  and  Maker  of  a  peculiar  form  of  Glazed  Pottery  for 

Architectural  Decorations.     Many  buildings  in  Florence, 

Siena  and  Venice  are  enriched  with  his  productions 

that  have  the  qualities  of  Pure  Sculpture 
Capitals  16*4  10-point  Lower-case  1014 

HIS  LETTERING  IN  SCROLLS 

For  the  Legend  Lines  of  his  Decorations,  always  in  Capital 

Letters,  is  in  the  Simple  and  Unconventional  Style  then 

preferred  by  Artists  of  the  Italian  Renaissance 

Capitals  IS1^  12-point  Lower-case 


NEEDS  LEADS  AND  SPACE 

Capitals  2914  18-point 

TO  SHOW  ITS  MERIT 

Capitals  8784  24-point 

348 


Gothics  and  panics 
ORNAMENTED  No.  1538 

Bruce 

4  FACE  OF  GOTHIC  THAT  TAKES  4  LITTLE  ORNAMENTATION 

Without  any  impairment  of  its  legibility.    Note  the  simplicity  of  its  ornainent:  sljort  and  weak 
serifs  j  slight  curves  tljat  vary  the  njonotony  of  straight  lines  and  Ijard  angles 

Capitals  $1%  8-point,  old  body  Lower-case  7 

tyAY  BE  FOUND  ACCEPTABLE  AS  A  TEXT  LETTER 

Does  good  service  in  the  lettering  of  ijanjes  on  the  backs  of  paper-labeled  books 
Capitals  11  10-point,  old  body  Lower-case  8*4 

SOME  LETTERS  PROVIDED  WITIJ  TWO  FORMS 
Those  that  have  no  curving  pendents  are  preferred  for  ordinary  work 

Capitals  IS1^  12-point,  old  body  Lower-case  9^ 


FIGURES  MADE  FOR  ALL  THE  SIZES 
Of  same  lieight  as  the  capitals  and  equally  clear 

Capitals  19%  18-point,  old  body  Lower-case  IS1^ 

IN  WIDE-LEADED  COMPOSITION 
Useful  style  of  Type  for  Display 

Capitals  27  24-point,  old  body  Lower-case  18 

BEAUTY  OF  SIMPLICITY 
In  Capitals  or  Lower-case 

Capitals  3412  36-point,  old  body  Lower-case  22^ 

349 


Types  of  the  <De  Vinne  'Press 
EUNIC  No.  641 

Bruce 


THE  HOOD  DOES  NOT  MAKE  THE  MONK.      OLD  LATIN  PROVERB 
The  addition  of  one  characteristic  or  pleasing  feature  to  a  dress  does  not  give  perfection 

Capitals  9  6-point,  old  body  Lower-case  684 

GOOD  TYPE  NOT  ENOUGH  FOR  A  GOOD  BOOK 
Types  must  be  composed  and  arranged  throughout  with  neat- 
ness and  good  taste  to  please  a  critical  reader 

Capitals  12*2  8-point,  old  body  Lower-case 


ACCURACY  IS  ALWAYS  OF  FIRST  IMPORTANCE 

There  must  be  no  faults  in  its  Orthography,  and  in  the 

use  of  Capitals,  Italic  and  points  of  Punctuation 

Capitals  1413  10-point,  old  body  Lower-case  12*2 


SPACING,  LEADING  AND  BLANKING 
Should  show  uniform  treatment  on  all  pages 

Capitals  19  12-point,  old  body  Lower-case  15 

PAPER  that  imbibes  INK 

Capitals  37*4  24-point,  old  body  Lower-ease  28 

NEEDED  FOR  PRESSWORK 

Capitals  29*2  !  20-point,  old  body 

HARSH  OR  ROUGH  PAPER 
Is  always  hurtful  to  Type  and  Plates 

Capitals  2312  18-point,  old  body  Lower-case 

350 


Gothics  and  panics 
EUNIC  No.  640 

Bruce 

IN  THE  PRESSWORK  OF  DISPLAY  LINES 

planned  Tor  Red  or  Pale  Inks,  and  especially  Tor  Rubricated  Title-pages,  approved  styles  of 
Roman  Capitals  will  be  found  too  weak.    Their  lines  are  thin  and  do  not  show  enough  of  color 

Capitals  914  6-point,  old  body.    Farmer  Lower-ease  8 

TO  PRODUCE  THE  NEEDED    PROMINENCE,  TYPES  OF  THICKER 
LINES  MUST  BE  USED 

Capitals  1214  8-point,  old  body 

BUT  THE  TYPE  SELECTED  MUST  BE  EQUALLY  GRACEFUL 

Capitals  15  10-point,  old  body 

A  LIGHT-FACED  RUNIC  MEETS  THIS  NEED 

Capitals  IS^  12-point,  old  body 


IT  IS  USED  BY  FRENCH  PRINTERS 

Capitals  24  16-point,  old  body 

WITH  A  PLEASING  EFFECT 

Capitals  2934  20-point,  old  body 

FIGURES  TO  ALL  THE 

Capitals  37%  24-point,  old  body 

RUNIC  FACES  ARE 

Capitals  46  36-point,  old  body 

OF  GOOD  CUT 

Capitals  5734  A.  T.  F.  Co.  44-point,  old  body 

351 


Types  of  the  ^De  Vinne  '•Press 
RUNIC  EXTENDED  No.  643 

Bruce 

THIS  FACE  IS  CALLED 

Square  Runic  by  many  Compos- 
itors. It  is  Not  an  Expanded,  but 
it  needs  a  short  name  to  differ- 
entiate it  from  the  Condensed 
Runic  of  a  preceding  page. 

Capitals  31  18-point,  old  body  Lower-case 


IT  IS  NOT  AN  ANTIQUE 
Nor  yet  a  Roman  of  thickened  lines,  but 
it  has  some  of  the  boldness  of  an  Antique 
and  the  simple  lines  of  the  Roman.  Its 
chief  peculiarity  is  its  squareness  with 
pointed  serifs. 

Capitals  231$  12-point,  old  body  Lower-case  17 


IN  THE  SCANDINAVIAN   LANDS 

Sweden,  Denmark  and  Norway,  are  thousands  of  in- 
scriptions in  the  ancient  alphabet  of  the  heathen  North- 
men, which  is  called  Runic.  Similar  records  are 
scattered  over  the  regions  which  were  settled  or 
overrun  by  the  Baltic  tribes. 

Capitals  17*4  10-point,  old  body  Lower-case 


OLD   RUNIC  WRITING   WAS   CUT 

in  the  direction  of  the  grain,  as  may  be  seen  in  the  case  of  some 
of  the  "  Clog  Almanacs  "  -which  are  still  in  existence.  Horizontal 
Lines  -would  therefore  be  inadmissible  and  -would  give  place,  as 
a  matter  of  graphic  convenience,  to  lines  running  obliquely  across 
the  grain.  Isaac  Taylor,  "The  Alphabet,"  vol.  ii.,  p.  221. 
Capitals  15  8-point,  old  body  Lower-case 

352 


Antique,  Ionic,  Doric,  etc, 


Antique,  Ionic,  Doric,  etc. 
ANTIQUE  No.  302 

Bruce 

MANY  INDESCRIPTrVE  NAMES  AHE  GIVEN  TO  ANTIQUE 

In  Great  Britain  it  is  Egyptian  ;  in  America  acceptability  depends  on  the  preservation 

deviations  from  the  earlier  forms  are  called  of  its  simplicity  and  legibility,  entirely  free 

Ionic,   Doric,    Clarendon,    Old-style,    Celtic,  from  eccentric   or  fantastic  additions.    The 

Runic,   etc.      These    slight    differences    are  addition  of  the  simplest  quirk  or  nourish  at 

made  more  apparent  by  an  expansion  or  the  termination  of  any  flat  stroke  •would  be 

condensation  of  the  characters.    The  model  enough  to  put  it  out  of  favor  •with  all  discern- 

is  always  that  of  ordinary  Koman  type.   Its  ing  readers.         AAEE9Naaaae~e6flJ6&6uu9fi 

Capitals  11  5-point  Lower-case  8 

FIVE-POINT  ANTIQUE  302  OF  BETJCE 

Has  been  used  with  approval  as  the  text  letter  for  dainty  little  advertising: 

pamphlets.    This   6-point  body  is  equally  serviceable  for  that  pur- 

pose and  especially  for  presswork  in  red  ink  or  pale  color 


Capitals  IS^  6-point,  old  body  Lower-case  9*2 

A  USEFUL  TYPE  FOB  SUBHEADINGS 

Its  lower-case  sorts  frequently  used  in  displayed  job  work.     It  has 
a  fair  supply  of  accents  for  French  and  Spanish 

Capitals  13*2         8-point  ;  also  8-point,  old  body        Lower-case 


THIS  10-POINT  OF  302  FACE 

Is  also  largely  used  for  subheadings  to  roman  lower- 

case with  tall,  round  letters  that  are  low  on 

the  body.    It  has  accents  and  figures 

Capitals  18  10-point,  old  body  Lower-case  13% 

AN  ORDERLY  TYPE 
Does  not  spoil  Expression 

Capitals  39  22-point,  old  body  Lower-case  27% 

SYMMETRICAL 
In  all  its  Characters 

Capitals  48  28-point,  old  body  Lower-case  32*2 

READintwilight 

Capitals  60  36-point,  old  body  Lower-case  41 

355 


Types  of  the  <De  Vinne  'Press 
ANTIQUE 


THIS  FONT  SELECTED  FOR  THE  SMALLER  DISPLAY 

type  of  the  Century  Dictionary  is  in  large  catlonal  work.  It  has  the  boldness  of 
supply.  We  have  twenty-seven  Job  cases  the  Antique  character  while  It  Is  almost 
all  provided  with  accents  for  French  and  as  thin  as  ordinary  roman.  It  Is  not  too 
Spanish  and  diacritical  marks  for  edn-  black  to  be  used  In  a  mass  for  text  type 

Capitals  1014  6-point,  Dictionary.     Bruce  Lower-case  S1^ 

ANOTHER   FONT   OF  ANTIQUE   TYPE 

Not  oast  on  the  Point  System  to  insure  perfect  justification  with  the  roman  faces 
and  old  bodies  of  the  Farmer  Type  Foundry 

Capitals  13  6-point  No.  5,  old  body.     Farmer.  Lower-case  9 


THIS  FACE  IS  THE  SYMMETRICAL  ENLARGEMENT 

of  the  6-point  previously  noticed.    It  was  selected  for  the  larger  dis- 

play type  of  the  Century  Dictionary.  It  has  a  large  supply  of 

accents  and  diacritical  marks 
Capitals  14          8-point,  old  body,  Dictionary.     Bruce         Lower-case  10 

THIS  FACE  IS  PRECISELY  THE  SAME  AS 
that  of  the  8-point  last  noticed  but  it  is  cast  on  the  old  9-point  body 

Capitals  14  9-point,  old  body.     Bruce  Lower-case  10 

A  FONT  OP  ANTIQUE  PROM  BOSTON 

Reserved  for  repairs  to  electrotype  plates.    Use  only  on  order 

Capitals  151%  8-point,  old  body.     Boston  Lower-case  11 


HERE  IS  AN  OLD-FASHIONED  FACE  OF  ANTIQUE 

more  compressed  than  that  used  for  display  type  in  the  Century  Dictionary 
but  not  so  easily  readable 

Capitals  11  8-point,  old  body  Lower-case  8 

ANOTHER  PACE  OF  BREVIER  ANTIQUE 

From  the  old  Foundry  of  MacKellar,  Smiths  &  Jordan.    Will 

be  found  of  service  in  matching  old  Roman  Types 

Capitals  16^          8-point,  old  body.     McK.,  S.  &  J.         Lower-case 


STILL   ANOTHER  PACE   OF   BREVIER 
Cast  by  the  Farmer  Foundry  and  of  use  in  repairing  electrotype  plates  and 

in  matching  old  roman  fonts.     This  font  has  many  accents 
Capitals  14  8-point,  old  body.     Farmer  Lower-case  9*2 

356 


Antique,  Ionic,  '•Done,  etc. 
ANTIQUE 


TALLER,  OF  LIGHTER  FACE  AND  NOT  SO  WIDE  AS  THE 

Ionic  of  same  body.     Note  that  the  ordinary  round  lower-case  sorts.    It 

descending  letters  j,  g,  q,  y  are  very  makes    useful   sub-headings   for   a 

~*  «~        Itv^io,.  pamphlet  page,  but  it  does  not  line 

short,  so  designed  to  give  the  largest  wit^  rOman  lower-case  letters  of  the 

possible  space  to  capitals  and  the  usual  height. 


Capitals  ll^  6-point  No.  125.     A.  T.  F.  Lower-case 


THIS  ENGLISH  POINT  ANTIQUE  NO.    125 

and  the  nine-point   that   follows   are  enlargements   of  same 

face.    A  useful  substitute  for  Roman  -where  greater 

clearness   is  desired 
Capitals  14^,  8-point  No.  125.     A.  T.  F.  Lower-case 


MAY   BE   USED   FOR   RUNNING  TITLES 
Or    in   any  other    position  where   the   line   will    receive 

unusual  wear  on  the  cylinder  printing-press 
Capitals  16^  9-  on  10-point  No.  125.    A.  T.  F.  Lower-case  12 

HERE  IS  ANOTHER   BASTARD  PACE 

Long  Primer  Antique  on  a  Small  Pica  body,  so  cast  for 

convenience  of  lining  with  plain  roman  type 

Capitals  l?^         10-  on  11-point,  old  body.    Farmer         Lower-case 


THIS   306  FACE   OF  BRUCE   FOUNDRY 

will  neatly  line  with  a  Roman  text  type  of  small  face. 

It  is  the  last  of  a  useful  and  once  popular  series 

Capitals  1784         10-point,  old  body,  No.  306.     Bruce         Lower-case  12 


BARTLETT  OLD-STYLE 

Bruce 

c/4.  CLEARj,,  cTWODERN  FACE 
old-style  features  sf  which  are  not  easily  discerned 

Capitals  1914  12-point  Lower-case 

357 


Types  of  the  <Z)e  Vinne  "-Press 
OLD-STYLE  ANTIQUE  No.  310 

Bruce 

USEFUL  FOR   SUBHEADINGS 

One  of  the  few  types  of  display  that  will  line  truly  with  ordinary  roman 
lower-case  in  a  side  heading.     Has  accents 

Capitals  14  8-point,  old  body  Lower-case  9% 

LOWER-CASE   SORTS   OF  THIS   SIZE 
Are  largely  used  for  side   headings  in  Catalogues   set  in 

lo-point  old-style.     It  has  many  accents 
Capitals  l?1^  10-point,  old  body  Lower-case  1184 


A  study  of  the  proper  construction  of  the  without  impairing  the    ruggedness    and 

old-style  character    as  it  was   made  by  ^£^^^^£^^^1^ 

Durer,  Tory,  Van  Dyck,  and  Caslon  will  fairiy  accomplished  this  task.    The  round 

show  that  the  intent  of  the  style  is  the  letters  are  not  high   and  are  nearer  the 

production  of  a  general  effect  of  extreme  "^,-J^ "&•  a^^'le^ 

lightness  and  clearness.      Blackness  and  There  is  a  fair  relief  of  white  space  in  and 

solidity  are  carefully  avoided.      Contriv-  around  all  the  characters  in  all  the  eleven 

ing  a  bolder  face  of  letter  on  this  model  sizes    on    metal    body.     All    the    smaller 

is  consequently  a  task  of  some  difficulties.  s^v,  accent^  U  „  , ^sefu^sub^ 

Types  so  made  must  preserve  a  good  de-  wofds  ,n  the  text   for  mfafc  truly  with 

gree  of  openness  within  as  well  as  with-  tne     most     approved    cuts    of    Old-Style 

out  the  letter  ;  but  it  must  also  have  more  Roman,  but  is  not  vulgarly  ostentatious 

of  boldness  in  all  its  lines  of  construction  in  this  emphasis.                   aaaeeiibouuC,5 

Capitals  ll1^                       6-point,  old  body                       Lower-case  8 


THIS  EXTRA  FONT 

Was  bought  to  show  lining  with  a  special  body  of  Roman 

Capitals  IS1^  10-point,  old  body.     Farmer        Lower-case  11% 

SUBHEADINGS    AND    SIDE    HEADINGS 

Are  fairly  presented  in  this  size  which 

has  many  suitable  accents 

Capitals  2114  12-point,  old  body  Lower-case  14 

OLD-STYLE  ANTIQUE 

Selected  for  the  text  type  of  many 

large  books.    Has  accents 

Capitals  3114  18-point,  old  body  Lower-case  2084 

358 


Antique,  Ionic,  (Doric,  etc. 
OLD-STYLE  ANTIQUE  No.  310 

Bruce 

MORE   PLEASING 
Than   letters  of  Amateurs 

Capitals  39  22-point,  old  body  Lower-case  25*2 

IMPRESSIVE 
By  its  firm  Legibility 

Capitals  4934  28-point,  old  body  Lower-case  33 

DURABLE 
In  all  Editions 

Capitals  70%  36-point,  old  body  Lower-case  4784 

BOLD  lines 

Capitals  8284  40-point,  old  body  Lower-case  59*4 

ARE  liked 

Capitals  9934  48-point,  old  body  Lower-case  68*2 

359 


Types  of  the  <De  Vinne  "Press 


ANTIQUE 

Farmer 


RUDER 

Posters 

Capitals  110  One  pair  cases  Lower-case  87^ 

48-point,  old  body,  on  wood.     V.  W. 

CLEAR 
Readable 

Capitals  109*2  48-point,  old  body  Lower-case  67^ 

THICK 

in  Face 

Capitals  118  Lower-case  98*4 

60-point,  old  body,  on  wood.     Class  II.     V.  W. 

360 


/Intique,  Ionic,  ©one,  etc. 


ANTIQUE 

Farmer 


FULL 

Capitals  161  72-point,  old  body  No  lower-case 

BOLD 

Letter 

Capitals  14812        96-point,  old  body,  Condensed         Lower-case  116 

IG 

Capitals  217i<j  108-point,  old  body  No  lower-case 

361 


Types  of  the  <De  Vinne  <Press 
ANTIQUE    (IONIC) 

Farmer 

THE  type  now  called  Antique  in  America,  introduced  in 
England  for  the  first  time  about  1815,  was  excessively 
broad  and  bold.  Savage,  who  wrote  soon  after  on  Decora- 
tive Printing,  said  that  the  designer  aimed  at  the  broadest  pos- 
sible surface  so  that  it  could  be  covered  with  ink  even  to  the 
belittling  or  obscurity  of  interior  relieving  white  space.  Types 
so  made  were  of  doubtful  value  even  in  poster  job  work ;  they 
were  rigorously  excluded  from  book  work  and  many  varieties  of 
fine  job  printing.  This  Ionic  which  came  thirty  years  later 
seems  to  have  been  the  most  successful  attempt  to  combine  a 
reasonable  degree  of  boldness  with  a  proper  relief  of  white  space. 


IONICS  OF  6-  AND  8-POINT 

can  be  used  with  propriety  as  a  proper  text  letter  for  circulars  and  notices 
Capitals  13  6-point,  old  body  Lower-case  9*2 


IN  ALL  KINDS  OF  WORK  NEEDING  PLAINNESS 
and  where  the  simplest  type  is  in  best  taste 

Capitals  18  8-point,  old  body  Lower-case  12 

(We  have  same  face  as  this  on  10-point,  old  body) 


IT  HAS  THE  GRACE  OF  ROMAN 

without  the  feebleness  of  sharp  hair  lines.    This 

copper-faced  font  has  accents  for  Spanish 

Capitals  21*2  10-point,  old  body  Lower-case  15 

THE  G-REAT  DEFECT  OF  IONIC 
is  that  it  does  not  line  with  Roman  lower-case 

Capitals  20^  10-point,  old  body  Lower-case  15 

NOT  QOOD  FOR  SIDE  HEADINGS 
but  of  service  in  all  modified  display 

Capitals  25*4  12-point,  old  body  Lower-case  16*2 

362 


Antique,  Ionic,  '•Doric,  etc. 
ANTIQUE    (IONIC) 

Farmer 

NOT  FIT  FOR  PRINTING  RED 
Copper-faced  type  dims  all  reds 

Capitals  29^  18-point,  old  body  Lower-case  20*2 

USEFUL  AS  ROMAN 
For  small  and  bold  Handbills 

Capitals  361%  22-point,  old  body  Lower-case  2484 

SPACE  WITHIN  a  type 
calls  for  space  WITHOUT 

Capitals  42  24-point,  old  body  Lower-case  29 


1234  x  =567 


36-point,  old  body,  Figures  on  Wood 


SQUARED 

form  of  Ionic 

Capitals  8684  48-point,  old  body,  No.  3  Lower-case  0914 

363 


Types  of  the  ^Dc  Vinne  'Press 
JENSON 

From  the  American  Type  Founders  Company 

JENSON  IS  THE  AMERICAN  REPRODUCTION 
Of  the  style  made  by  William  Morris  of  the  Kelmscott  Press,  and  by  him  called 
the  Golden  Type.  He  says  that  he  took  for  his  model  the  Roman  letter  made  fay 
Nicholas  Jenson  in  the  Fifteenth  Century.  It  first  appeared  in  J 891,  in  "The 
Story  of  the  Glittering  Plain."  Bibliophiles  welcomed  the  Golden  Type  as  a 
pleasing  return  to  the  simplicity  of  the  early  printers,  and  as  a  vindication  of  the 
superior  merit  of  Old-fashioned  Masculine  Printing. 

Of  this  we  have  four  cases. 
Capitals  13*4  8-point  Lower-case  8*3 

THE  JENSON  TYPE  HERE  MADE 

Fairly  follows  the  general  form  and  peculiarities  of  the  Golden 
Type,  but  it  is  a  trifle  bolder  and  blacker.  It  is  seldom  used  now 
as  the  text  type  of  a  new  book,  for  the  ordinary  reader  does  not 
relish  it  as  a  type  of  text.  The  Jenson  type  has  been  selected  by 
amateur  printers  for  reprints  of  old  books,  but  its  too  frequent 
employment  on  trivial  or  ephemeral  books  has  disgusted  the 
bibliophile  who  might  have  admired  the  new  face  if  it  had  been 
used  mainly  for  standard  books.  Familiarity  has  bred  dislike 

Of  this  10-point  we  have  four  cases. 
Capitals  16  10-point  Lower-case  1034 

JENSON  IS  LARGELY  USED 

For  subheadings  in  newspapers,  for  advertisements,  and 
in  job  work.  It  has  the  clearness  of  the  best  cuts  of  Old 
Style  with  the  boldness  and  durability  of  an  Antique 

Of  this  two  cases. 
Capitals  19  12-point  Lower-case  12 

FOR  SOME  ENGLISH  REPRINTS 
Many  publishers  prefer  it  to  the  standard  forms 
of  Caslon  Old-style.  Its  figures  are  of  proper 
height  and  line,  and  its  lower-case  is  close  set 
and  compact  in  all  combinations.  For  Jenson 
Italic  in  four  of  the  smaller  sizes  see  page  3J9 

Capitals  23  14-point  Lower-case 

364 


/Intique,  Ionic,  'Doric,  etc. 
JENSON 

From  the  American  Type  Founders  Company 


GOLDEN  TYPE  OF  MORRIS 

Was  made  by  him  in  one  size  only  on 
the  body  of  Great  primer*  He  refused  to 
sell  types  or  matrices  or  right  to  reproduce 

Of  this  font  we  have  two  cases. 
Capitals  27  18-point  Lower-case  16*2 


THE  JENSON  TYPE 

Made  by  the  American  Type 
Founders  Company  is  here  kept 
in  stock  in  twelve  sizes  and  all 
the  sizes  are  on  metal  bodies 

Capitals  34  24-point  Lower-ease  2114 

ITS  CLOSE  SET 

Of  capital  letters  may  often 
require  card  or  hair  spacing 

Capitals  41  30-point  Lower-case  25*2 

365 


Types  of  the  <De  Vinne  <Press 
JENSON 

From  the  American  Type  Founders  Company 


FLORETS 

Come  with  the  Fonts, 

but  use  them  only 
when  specially  ordered 

Capitals  50  36-point  Lower-case  31 


FLORETS 

Are  seldom  needed 

Capitals  58  42-point  Lower-case  3634 

CLEARNESS 

More  Important 

Capitals  65*2  48-point  Lower-case  42 

366 


Antique,  Ionic,  Doric,  etc. 

JENSON 

From  the  American  Type  Founders  Company 


DISPLAY 


Injenson  Type 

Capitals  72^  54-point  Lower-case  46 

NEEDS 

White  Space 

Capitals  80  60-point  Lower-case  52^ 

Larger  sizes  of  this  face  are  cut  on  wood. 

1234567890  J  234567890  J  234567890 

\ 234567890 


367 


Types  of  the  *De  'Vinne 
JENSON  CONDENSED 


TOO  THIN,  SHALL,  AND  INDISTINCT  A  SIZE  AND  FACE  OF  TYPE 

For  good  service  in  Book  Work,  bat  of  much  service  to  Labels  and  all  Compacted  Advertisements 

Capitals  813  6-point  Lower-case  623 


ITS  LARGER  SIZES  ARE  MUCH  MORE  READABLE  AND  ATTRACTIVE 
When  Capital  Letters  only  are  used  in  two  or  more  consecutive  lines  lead  wider  if  space 

will  allow 
Capitals  9*2  8-point  Lower-case  T1^ 


A  USEFUL  SIZE  AND  FACE  FOR  SUBHEADINGS 
Of  many  words  followed  by  Solid  Composition*    Not  so  good  over 

leaded  matter 

Capitals  12*2  10-point  Lower-case  9^ 


LEGIBILITY  GREATER  IN  LARGE  SIZES 

When  a  Paragraph  is  set  in  lower-case  lead  or  double  lead 

as  space  will  allow 

Capitals  IS2^  12-point  Lower-case 


JENSON  CONDENSED  WITHSTANDS  WEAR 

Has  Stubby  Serifs  and  much  White  Space  within  its 
separate  letters 

Capitals  16*3  14-point  Lower-case  12 


IT  IS  A  CLOSE  FITTED  TYPE 

Capitals  that  are  too  close  may  occasionally 
need  Hair  Spaces 

Capitals  21!^  18-point  Lower-case 

368 


/Intique,  Ionic,  Doric,  etc. 
JENSON  CONDENSED 

From  the  American  Type  Founders  Co. 

APPROVED  BY  ADVERTISERS 

Every  Stroke  in  each  letter  is 

Easily  Perceived 

Capitals  25%  24-point  Lower-case  19^ 

RELIEF  OF  WHITE  SPACE 

Has  been  amply  provided  by 

type  founders 

Capitals  2913  30-point  Lower-case  2213 

WITHIN  THE  LETTER 

Compositor  should  aid 

with  leads 

Capitals  38  36-point  Lower-case  27*3 

A  JOB  OF  DISPLAY 
In  two  or  more  sizes 

Capitals  44  42-point  Lower-case  31  !$ 

369 


Types  of  the  ^DeVinne  'Press 
JENSON  CONDENSED 

From  the  American  Type  Founders  Co. 

OF  THIS  FACE 
Is  very  acceptable 

Capitals  50  48-point  Lower-case  3513 

IT  SHOWS 

Good  Taste 

Capitals  62!^  60-point  Lower-case  45 

11223344556678900 

1122334455667890 

123456789000 


370 


/Jntique,  Ionic,  "Done,  etc. 
LATIN  ANTIQUE  No.  520 

American  Type  Founders  Co. 


THE  INTENDED  CLEARNESS  OF  THIS  FACE 
is  produced  not  so  much  by  its  peculiarities  of  design  as  by  the 

increased  width  of  its  letters 
Capitals  H^  6-point,  old  body  Lower-case  ll1^ 

THIS  LINING  LATIN  ANTIQUE  NO.  52O 

Of  the  American  Type  Founders  Co.  is  really  a  variation 

of  the  style  known  by  printers  as  Gothic 

Capitals  17  8-point  Lower-case 


IT  HAS  A  SPUR  AT  ENDS  OF  LINES 

Which  is  very  short  and  stubby,  but  it  fairly 

serves  the  purpose  of  a  Serif 

Capitals  I&LQ  10-point  Lower-case  15 


DR.  JAVAL,  A  FRENCH  OCULIST, 

Says  that  this  Spur  or  Serif  is  of  service 

in  preventing  Irradiation 

Capitals  23  12-point  Lower-case 


IT  MAKES  LETTERS  CLEAR 
Separates  meeting  type 

Capitals  32i%  18-point  Lower-case  23 

IT  MATES  WELL 
With  an  Old-style  Letter 

Capitals  39%  24-point  Lower-case  3013 

A  SERIF  is  a  finish 

Capitals  50  30-point  Lower-case  39 

371 


Types  of  the  ^eVinne  'Press 
DORIC 

Bruce 

DORIC  IS  PRACTICALLY  A  MUCH  THICKENED 

Roman  letter  intended  to  show  ally  in  this  6-point  size  thi» 
to  the  reader  in  one  style,  the  thickening  of  lines  has  been  over- 
boldness  of  the  Antique  with  the  done.  Blacker  lines  have  not 
roundness  and  grace  of  our  or-  made  print  any  clearer ".  under 
dinary  hook  type.  On  the  small  some  conditions  they  have  par- 
sizes  of  lower-ease  and  especi-  tially  obscured  legibility. 

Capitals  15  6-point,  old  body  Lower-case  10 


DORIC   MAY  BE  DAMAGED  BY   OVERINKING 

Which   reduces  white  space  between  the  lines.     This  font 

has  accents  for  French  and  Spanish 

Capitals  15  8-point,  old  body  Lower-case 


TOO  BOLD  FOR  NEAT   BOOK  WORK 
But  of  service    in    Commercial    Printing: 

Capitals  21  10-point,  old  body  Lower-case  1634 

MAKES    BOLD    DISPLAY 

In  advertisements  &  handbills 

Capitals  28  12-point,  old  body  Lower-case  22*4 

SHOWS   RED  IXK 
Better  than  a  light-face 

Capitals  37  18-point,  old  body  Lower-case  30 

CAN  BE  READ 
At  Long  Distance 

Capitals  56  24-point,  old  body  Lower-case 

372 


/Jntique,  Ionic,  'Doric,  etc. 


DOEIC 

Bruce 


OVERRIDES 

all  Petty  Types 

Capitals  62  40-point,  old  body  Lower-case  48 

GRACEFUL 


Capitals  72ia  48-point,  old  body  Lower-case  55 

1234567890       1234567890        A  E  N  &  &  a  <§  6  i  6  o  \i  fl 

1234567890  1234567 

133456789  345678 


1234567 


133567890 


373 


Types  of  the  *De  Vinne  '•Press 
GUSHING  OLD-STYLE 

Central 


AW  ANTIQUE  MAT  BE  FOUND  TOO  WIDE  FOR  SPECIAL  USES 

One  of  the  objections  to  Old-style  Antique  of  To  prevent  a  useless  sprawling  of  type  over 

customary  shape  is  the  width  of  its  charac-  paper  this  Gushing  Old-style  was  devised, 

ters       Thev  take  un  too  much  snace  in  a  Jt  retains  Old-style  features  in  a  compressed 

e™'  form,  yet  it  is  sufficiently  bold  and  clear  for 

sub- or  a  side-heading  and  seem  needlessly  ordinary  headings.    It  does  not  line  with 

prominent  when  moderate  display  is  desired.  ordinary  romans. 

Capitals  10  6-point  Lower-case  7% 


DISPLAY  TYPE  IS  RARE  ON  SEVEN-POINT  BODY 

Bat  this  size  will  be  found  of  Service  for  a  Proper  Rendering  of  Moderated  Display 
Capitals  11 14  7-point  Lower-case  8 


SUB-HEADS  OF  SMALL  CAPITALS  ARE  WEAK 

Especially  offensive  in  School-books  that  Require  many  Distinctive  Paragraphs 
Capitals  12  8-point  Lower-case  9 


HEADINGS  SHOULD  INVITE  NOTICE 

By  their  Simplicity  as  well  as  by  their  Distinction  of  Boldness 
Capitals  H1^  10-point  Lower-case 


ELEVEN-POINT  IS  AN  ODD  SIZE 
For  a  type  of  Display,  but  it  is  Often  Needed  in  School-books 

Capitals  1534  11-point.    Farmer  Lower-case 


TWELVE-POINT  IS  A  FAVORITE 

In  Job  Work,  and  in  large  pages  of  Book  Work  or 
Catalogues  that  need  Prominent  Words 

Capitals  1884  12-point  Lower-case  13 

1234567890  1234567890  1234567890 

374 


Antique,  Ionic,  <Donc,  etc. 
ANTIQUE  CONDENSED 

Bruce 


TOO  THIN  TO  BE  EFFECTIVE  AS  THE  SUBHEADDTQ 

of  a  page  or  column,  and  too  tall  to  line  neatly  overhang  the  body  and  consequently  compel 
with  the  ordinary  face  of  roman  text  letter.  It  the  leading  of  the  lines  where  one  line  follows 
can  be  made  useful  in  advertisements  that  another.  Although  carefully  drawn  and  en- 
have  lists  of  articles  in  columns  and  in  labels  graved  this  defect  in  construction  prevents 
of  a  narrow  measure,  Its  descending  letters  its  more  extended  use. 

Capitals  10*2  6-point,  No.  321  Lower-case  7*4 


THIS  ENLARGEMENT  OF  THE  PACE 

previously  noticed  has  the  same  merits  and  its  very  unpleasing  defects 
Capitals  13  8-point,  old  body,  No.  321  Lower-case  9 


PICA  ANTIQUE  EITEA  CONDENSED  NO.  632 
Is  mflcli  thinner  will  short  iterators  and  audited  lines  of  construction 


Capitals  12 


12-point,  old  body,  No.  632 


Lower-case  9 


CONDENSED  TOO  MUCH  FOR  PERSPICUITY 

Lower-case  sorts  over  closely  fitted  will  sometimes  cause  confusion 


Capitals 


18-point,  old  body,  No.  632 


Lower-case  10 


Capitals  34  48-point,  old  body,  No.  632 

375 


Lower-case  21 


Types  of  the  <De  Vinne  '•Press 
ANTIQUE  CONDENSED 


FOUR  SMALL  SIZES  THAT  HAVE  NO  HATES  OF  LOWER-CASE 

Capitals  12^  10-point,  old  body,  No.  2.    Conner 

AN  OLD  FAVORITE  DISPLACED  BT  ITS  INFERIORS 

Capitals  16  14-point,  old  body,  No.  2.     Conner 

ONCE  INDISPENSABLE  IN  JOB  PRINTING 

Capitals  19  18-point,  old  body,  No.  2.    Conner 

MAY  YET  BE  RESTORED  TO  FAVOR 

Capitals  24^  22-point,  old  body,  No.  2.    Conner 

EMINENTLY  GRAND 

Capitals  47!<2        44-point,  old  body.    A.  T.  P.  Co.        No  lower-case 

BOLD  AND  SOLID 

Capitals  48  48-point,  old  body.    A.  T.  F.  Co.        No  lower-case 

MAGNIFICENT 

Capitals  56  60-point,  old  body.    A.  T.  F.  Co.        No  lower-case 

376 


/Intique,  Ionic,  ^Doric,  etc. 
ANTIQUE  CONDENSED 

American  Type  Founders  Co. 

GRANDIOSE 

Capitals  71  72-point,  old  body  No  lower-case 

SUPERB 

Capitals  90  96-point,  old  body        No  figures  or  lower-case 

USEFUL 

In  a  Poster 

Capitals  76  48-point,  old  body  Lower-case  61 

SHOWY 

inHandbill 

Capitals  86  60-point,  old  body  Lower-case  65*2 

377 


Types  of  the  ^DeVinne 
LATIN  CONDENSED 

Farmer 


THIS  SERIES  OF  EIGHT  SIZES  OF  LftTIN  CONDENSED 
seems  the  most  successful  attempt  at  a  pleasing  union  of  the  boldness  of  the  Antique 
Style  of  type  with  the  symmetry  of  the  ordinary  Roman  letter  in  condensed  shape, 
It  has  more  of  grace  than  the  older  forms  of  Condensed  antique,  but  it  is  not  any 
more  readable,  The  type-founder  who  made  this  face  may  have  called  it  Latin 
Condensed  because  it  was  an  imitation  of  that  feature  of  the  extremely  condensed 
letters  of  scribes  of  Lombardy  who  compressed  letters  to  indistinctness 

Capitals  lOi^  9-point.     A.  T.  F.  Co.  Lower-case  8 


COMPRESSION  OF  LETTERS  SEEMS  PROPER 
When  a  very  bold  display  of  too  many  words  is  required  in  one  line 

Capitals  11  12-point,  old  body  Lower-case  9 

THE  SELECTION  OF  A  CONDENSED  TYPE 

Is  never  pleasing  when  it  leaves  a  broad  gap  of  vacancy 

at  tbe  ends  of  tbe  too  sbort  displayed  line 

Capitals  14  ^  18-point,  old  body  Lower-case 


THIS  FAULT  IS  MADE  WORSE 
By  an  Undue  Spacing  between  the  letters 

Capitals  20  24-point,  old  body  Lower-case  15*2 

UNDUE  SPACING  OF  TYPES 

Seriously  alters  their  appearance 

Capitals  25  28-point,  old  body  Lower-case  19*2 

378 


Antique,  Ionic,  1)oric,  etc. 
LATIN  CONDENSED 

Farmer 

CONTRASTS  OF  SPACING 
As  Bad  as  Contrasts  of  Style 

Capitals  30  36-point,  old  body  Lower-case  223^ 

THE  BETTER  PLAN 

To  maintain  Uniformity 

Capitals  37  48-point,  old  body  Lower-case  28*2 


Is  always  Expected 

Capitals  46  60-point  Lower-case  34 

im56raol234567890l234567890l23456789 


379 


Types  of  the  <De  Vinne  'Press 
CLARENDON  No.  322 

Bruce 

80  CALLED  IN  HONOR  Of  CLARENDON  PRESS  OF  OXFORD  The  oldest  printing  house 

Capitals  10*2  5-point,  old  body.     Fanner         Lower-case  T1^ 


THE  DESIGNER  OF  THIS  CLARENDON  FACE 

Apparently  intended  it  for  a  display  letter  to  be  used   instead  of  italic  for  emphatic  words 

in  the  text,  or  as  side-headings  to  paragraphs  in  books  of  reference  as  in  dictionaries 

and  gazetteers.    To  promote  compactness  the  letters  were  moderately  condensed 

Capitals  lO^  5-point  on  6-point,  old  body  Lower-case  7 


CAPITAL  LETTERS  WERE  HADE  TOO  HIGH 

For  the  thin  body.    Some  characters  have  lines  that  are  crowded  and  that  have  too 

little  of  relieving  white  space  within.    The  letter  is  set  too  low  on  the  body 

to  line  with  the  ordinary  roman  lower-case 

Capitals  1084  6-point  on  8-point,  old  body  Lower-case  8 


THE  DESCENDING  LOWER-CASE  LETTERS 
In  the  fonts  as  first  made  projected  beyond  the  body  and 
made  kerns  that  seriously  interfered  with  other  types 
in  the  composition  of  solid  matter.     The  fault  is  here 
prevented  by  putting  the  smaller  face  on  a  larger  body 

Capitals  1884  8-point  on  10-point,  old  body  Lower-case  10 


THE  BODIES  FROM  6-  TO  12-POINT 

Cast  before  the  point  system  was  introduced  are  not  in 
line  always  with  ordinary  roman  text  type  of  old  body 

Capitals  IT1^          10-point  on  12-point,  old  body       Lower-case  12 


THIS  FACE  IS  ONE  EXCEPTION 

The  face  is  too  large  for  the  body  and 

lower-case  descenders  are  kerned 

Capitals  22  12-point,  old  body.    Farmer  Lower-case  16 

380 


Antique,  Ionic,  '•Done,  etc. 
CLARENDON  No.  322 

Bruce 

THESE  CAPITALS  CLOSELY  FITTED 

Make  a  Pleasing  Display  for  the  18-point 

Roman  letter  that  is  not  too  broad 

Capitals  21  12-point  on  18-point,  old  body        Lower-case  16*2 

USEFUL  IN  DISPLAY 

As  capitals  or  as  lower-case 

Capitals  37^  28-point,  old  body  Lower-case  26 

A  TYPE 

of  wood 

Capitals  118  72-point,  old  body,  light-face.    V.  W.         Lower-case  9234 

OLD 

Capitals  186  120-point,  old  body,  on  wood.    V.  W.          Lower-case  143 

381 


Types  of  the  <De  Vinne  <Press 
CONDENSED   CLAEENDON  No.  320 

Bruce 

THIS  IS  ANOTHER  CLOSELY  FITTED  TYPE 
Of  Light  Pace  but  without  any  Projecting  or  Overhanging  Kerns 

Capitals  1884  10-point,  old  body  Lower-case  10 

CAN  BE  USED  FOR  A  TEXT  TYPE 
In  a  paragraph  as  well  as  for  display  in  job  work.  aai66$ 

Capitals  17  12-point,  old  body  Lower-case  1234 

DOES  NOT  LINE  WITH  ROMAN 
A  few  accents  are  provided  for  its  lower-case 

Capitals  19  16-point,  old  body  Lower-case  14 

A  BETTER  MATE  THAN  OLD-STYLE 
As  a  Sub-heading  for  Modern  Faces 

Capitals  22  18-point,  old  body  Lower-case  16 

CAPITALS  IN  PROPORTION 
Harmonizing  with  one   another 

Capitals  27^4  22-point,  old  body  Lower-case  20 

MORE  GRACEFUL 
Than  some  recent  styles 

Capitals  40*2  36-point,  old  body  Lower-case  30 

ATI.  SIZES 

Well-cut  figures 

Capitals  62^  48-point,  old  body  Lower-case  431$ 

382 


Antique,  Ionic,  Doric,  etc. 
FEENCH  CLAEENDON  No.  341 

Bruce 

COULD  A  TYPE-FOUITDEE'S  NAME  BE  KOBE  INCON32UOUS? 

Why  should  the  name  of  an  English  Statesman  and  man  of  letters  be  labeled  as  French  ?    Why  suonli  the 
reversion  of  thick  and  thin  strokes  in  this  style  after  an  old  Italian  fashion  be  described  as  French  ? 

Capitals  8  6-point,  old  body    A.  T.  F.  Co.         Lower-case  6 

MUCH  MORE  CONDENSED  THAN  IT  SEEMS 

It  Is  an  easily  readable  letter,  but  it  is  not  a  pleasing  face  to  most  buyers  of  printing 
Capitals  11  8-point,  old  body  Lower-case  814 

ALTHOUGH  PLAIN  AND  VEEY  READABLE 
It  is  neglected  now  as  a  style  of  the  last  century  much  out  of  fashion 

Capitals  14  10-point,  old  body  Lower-case  10 

ONE  LINE  ONL7  SET  IN  THIS  STYLE 
May  not  be  pleasing  to  the  Critical  Advertiser 

Capitals  181^  12-point,  old  body  Lower-case  14 

THE  CONTRAST  OF  MANY  SIZES 

To  produce  the  best  effect  is  needed  in  a  fall 

series  of  Capitals  and  Lower-case 

Capitals  2012  18-point,  old  body  Lower-case  15 

MANY  SIZES  OF  THIS  FACE 
Will  produce  the  needed  attraction 

Capitals  30  22-point,  old  body  Lower-case  201$ 

HAS  SAME  FACE  AS  ABOVE 
But  cast  upon  24-point  "body 

Capitals  30  24-point,  old  body  Lower-case 

383 


Types  of  the  ^DeVinne  '•Press 
FRENCH  CLARENDON  No.  343 

Bruce 


ITS  CLEARNESS 
Can  be  Very  Much  Improved 

Capitals  35%  28-point,  old  body  Lower-case  24*% 

BY  THE  THIN 
Spacing1  of  Capitals 

Capitals  50  36-point,  old  body  Lower-case  36^ 

WHERE 


Capitals  56  48-point,  old  body  Lower-case  42*2 


We  have  also  a  series  of  seven  sizes  of  a  style  known  as  French 
Antique  from  the  Connor  Foundry.  This  French  Antique  also 
has  the  Italian  mannerisms  of  reversed  thick  and  thin  strokes, 
but  it  is  a  much  wider  or  more  expanded  letter  and  makes  very 
black  and  bold  lines  of  display.  See  our  Office  Specimen  Book, 
pp.  114-116.  This  old  fashion  of  merit  should  be  selected  only 
when  requested.  It  is  a  good  mate  for  this  French  Clarendon. 


384 


Antique,  Ionic,  Doric,  etc. 


GEECIAN 

Riggs 


Capitals  49*2  60-point,  old  body  No  lower-case 

1234567890 


TUSCAN 


ANTIQUE  FACES 

Capitals  48  28-point,  old  body 

TUSCAN 
Old  Form 

Capitals  10234  48-point,  old  body  Lower-case  78 

1234789 


385 


Types  of  the  <De  Vinne  'Press 
ANTIQUE  EXTENDED 

Bruce 


LETTERS      FLATTBlSrElD        TO       XTJSrWTSE 

.A/RE   ISTOT   i:&/i:i»:ROVEM:EisrTS    TO 
Capitals  IT1^        5-point,  old  body,  No.  332        Has  figures,  no  lower-case 


still    to 

Capitals  2614.  6-point,  old  body,  No.  330  Lower-case  18% 


TOO 

Too   Tliloli.   ±or 

Capitals  Slig  8-point,  old  body,  No.  330  Lower-case 


Capitals  41  10-point,  old  body,  No.  330  No  lower-case 


Capitals  54  12  -point,  old  body,  No.  330  Lower-case  38 


CLAEENDON  EXTENDED 

Farmer 


Here  Labeled  Olarendon   Extended  by  the 
Bewildered    Type-fo\inder 

Capitals  2814  8-point,  old  body  Lower-case 


ONE    SIZE 
-A.  IDistinol:,  "birt  not-  an   -A.  "tt,r  active 
Style   of  Display   Letter 

Capitals  3414  10-point,  old  body  Lower-case  24*2 

386 


Antique,  Ionic,  ©one,  etc. 
BROKEN  BACK 

Starr 


Capitals  38  28-point,  old  body 


ITALIAN  EXPANDED 

Bruce 


WITS: 

>    IF'SI 

Capitals  SO1^  8-point,  old  body 


FEENCH  CLARENDON  EXTENDED 

Farmer 

CITE   BUnVIVOH   OP   THE 

"HOWSTROSITIES"    OP   INARTISTIC!  TTPE 
SO    SAID   BT   HANSARD   IN    1S25 

Capitals  20  10-point,  old  body  No  lower-caae 


BRADLEY 

American  Type  Founders  Co. 


UITCC 

Resigned  this  novel,  boldface  advertising  type 

Capitals  23  18-point  Lower-case 

38T 


Types  of  the  ^DeVinne  '•Press 
POST  OLD-STYLE  No.  2 

American  Type  Founders  Co. 


MANUSCRIPT   BOOKS   MADE   BEFORE    15OO 

Were  tHe  envy  and  despair  of  tne  earlier  printers.      TH« 

written    words    of  old    books  ivere  eagerly  accepted  as 

models  for  tHe  type-maKers  and  as  copy  for  tHe  type* 

setters,  but  tHe   added   graces  of  tHe  CaligrapHers 

and  Miniaturists  •were   beyond   imitation 

Capitals  16  6-point  Lower-case 


ALL,    THE    EARLY    PRINTERS 
Planned  BooKs  more  for  Use  tnan  for  Snow 

Capitals  19  8-point  Lower-case 


TYPES  -WERE   LARGE  AND   BOLD 
With  broad  lanes  of  white  between  lines 

Capitals  2314  10-point  Lower-case  18 

COPPERPLATE    PRINTERS 
Caused  rivalry;  small  types  followed 

Capitals  2514  12-point  Lower-case  19 

TYPES  OF  LIGHT  FORM 

And  of  smaller  size  preferred 

Capitals  31  14-point  Lower-case  23 

READERS   ASKED 
For  Types  of  Great  Grace 

Capitals  36*2  18-point  Lower-case  26*3 

LIGHT  FACES 
In  Use  for  Centuries 

Capitals  46  24-point  Lower-case  34 

388 


/Jntique,  loniCj  '•Done,  etc. 
POST  OLD-STYLE  No.  2 

American  Type  Founders  Co. 

ADVERTISERS 
wanted  boldness 

Capitals  56  30-point  Lower-case  42 

AND  A  BIT 

of  Coarseness 

Capitals  67  36-point  Lower-case  50 

HERE,  IT 
is  presented 

Capitals  801$  42-point  Lower-ease  59^ 

1234567890  I23456789O  123456789O 

12345    123456789O    123456789O 


123456789O 

123456789O 

123456789O 


389 


Types  of  the  *De  Vinne  Press 
POST  CONDENSED 

American  Type  Founders  Co. 

ONCE  A  MAN  WAS  JUDGED  BY  SURROUNDINGS  OF  HIS  SELECTION 
Hit  Dress,  Habits.  Associates  and  Books  were  indications  of  his  Social  Status ;  his 
Shop,  Store  or  Office  showed  his  sense  of  Neatness  or  Propriety ;    the  Dress  and 
Manners  of  his  Clerks  or  Assistants,  and  his  printed  Cards,  Circulars  or  Adver- 
tisements, his  notions  of  Propriety  or  Good  Taste 

Capitals  1013  6-point  Lower-case  823 

HIS  PRINTED  WORK  WAS  HIS  TRAVELING  SALESMAN 
It  showed  to  the  Public  his  lihing  for  Appropriate  Type,  Proper  Paper 
and  Neat  PressworK,  or  his  Indifference  to   these  niceties.    At  a 
glance  the  desired  buyer  formed  an  opinion  of  the  Care  or  Care- 
lessness of  the  Advertiser  in  the  management  of  his  business 
Capitals  1213  8-point  Lower-case 


UNCOUTH  TYPES  CARELESSLY  COMPOSED 

In  defiance  of   established    usage  indicate  a  desire  to 

disregard  old  rules  of  order  and  good  proportion,  with 

an  intent  to  coerce  the  buyer's  attention  by  an  ostenta- 

tious display  of  new  notions  in  printing 

Capitals  I5^s  10-point  Lower-case 


LETTERS  WIDELY  DISLOCATED 

By  Spacing  that  maKes  them  Incoherent,  or  Lines 

that  are  jammed  together  in  confusion  are  sup- 

posed, by  the  amateur,  to  show  the  true  artistic 

freedom  from  conventional  restraints 

Capitals  1623  12-point  Lower-case 


ODDITY  ALWAYS  ATTRACTIVE 
A  Circus  Clown  is  therefore  sure  to  be  noticed 

Capitals  19*%  14-point  Lower-case 


A  SCREAMING  ADVERTISEMENT 
Silences  the  Voice  of  the  Modest 

Capitals  25  18-point  Lower-case  191s 

390 


/Intique,  Ionic,  ^Doric,  etc. 
POST  CONDENSED 

American  Type  Founders  Co. 

NOVELTIES  IN  TYPE 
Produce  Novel  Compositions 

Capitals  Sl^  24-point  Lower-ease  24% 

ROUGH  LETTERS 
Suggest  Slighted  Labor 

Capitals  38*3  30-point  Lower-case  29^ 

GOOD  WORK 
Always  shows  Care 

Capitals  45^  36-point  Lower-case  35^ 

SLOVENLY 
Types  an  Affront 

Capitals  52  42-point  Lower-case  40 

1234567890 


391 


Types  of  the  foe  Vinne  'Press 


CURTIS  POST 

American  Type  Founders  Co. 

•S,  HOT  BILAGHMIE 
fey  tKe  ^ise   ©f  tl&is 
st  style  ©f  1V]pep  H©w  i 


Capitals 


12-point 


Lower-case  19 


Capitals 


14-point 


Lower-case  23^2 


Capitals  37 13 


•live 

(T 
***> 

18-point 


Lower-case  28 


TME  AMATEUR 


Capitals  47 


24-point 


Lower-case  3423 


•ed 


Capitals  5323 


30-point 

392 


Lower-case  4213 


Antique,  Ionic,  Doric,  etc. 
CUETIS  POST 

American  Type  Founders  Co. 


Capitals 


36-point 


Lower-case  51 


Capitals  83 


42-point 


Lower-case  61 


123456789O 


393 


Ornamented  Types 


Ornamented  Types  of  the  <De  Vinne  'Press 
ORNAMENTED  No.  1536 

Bruce 


N  JMITATION  IN  TYPE  OF  fr.  PECULIARITY  IN  THE  PURIOUS 
LETTERING  OF  A  VERY  OLD  MANUSCRIPT 

Capitals  15*2  10-point,  old  body  Small  capitals  1184 


N    yELLUM,     OF    THE     pLD    AND     J^EW    TESTAMENT,     NOW     IN    THE 
ARCHIVES   OF   THE    BRITISH  y\5.USEUM. 

Capitals  1614  12-point,  old  body  Small  capitals 


KNOWN  AS  THE    ALEXANDRIAN    CODEX 
THE  PECULIARITY  is  A  LONG  TAIL  TO  THE  CAPITALS 
Capitals  18^          12-point,  old  body.     Hagar        Small  capitals 


THE    LARGE    CAPITALS  WAVE    SMALL    MERIT 
AND    SHOULD    NOT    BE    USED  TOGETHER 

Capitals  23^  18-point,  old  body  Small  capitals 


I 


TS      MALL     APITALS  ARE 

THAN  -ROMAN,  AND  AS  PLAIN 

Capitals  30  24-point,  old  body  Small  capitals  201<j 


PMALL  LAPITALS  ARE  LTOOD 
FOR  NAMES  ON  BOOK  BACKS 

Capitals  41  36-point,  old  body  Small  capitals  27!$ 

397 


Ornamented  Types  of  the  *De  Vinne  'Press 


AESTHETIC 

Dickinson 


IN  ITS  NIGGLED  CAPITAL  BETTERS 


Capitals 


20-point,  old  body          Small  capitals  2184 


WITH  HALF  THE  OR.NACDEJTT 


Capitals  3534 


24-point,  old  body  Small  capitals  2734 


PHIALS  TO  SMALL  TYPE 


Capitals  40*2 


28-point,  old  body 


Small  capitals  33 


Use  the  bits  of  decoration  called  Line  Endings  that  accompany  this 
and  other  fonts  with  caution.  They  seldom  improve  but  often  dam- 
age the  appearance  of  a  long  line.  As  a  rule  never  use  a  line  ending 
that  does  not  show  completeness  in  its  design.  Keep  a  space  be- 
tween the  ornament  and  the  letter. 


HAIR-LINE  SHADED  No.  648 

Bruce 

HERE  IS  ANOTHER  FRAIL  TYPE 

Provided  In  One  Size  only.    It  finds  occasional  employment 

in  Job  work  and  in  Magazine  Pages  intended  to 

be  decorative.     Has  a  few  accents. 

Capitals  14  12-point,  old  body  Lower-case  11 

398 


Ornamented  Types  of  the  ^eVinne  <Press 
ORNAMENTED  No.  1526 

Bruce 


to  tlje 
Capitals  IBig  12-point,  old  body  Lower-case 


Of  t)ci 

Capitals  23^,  18-point,  old  body  Lower-case  16 


Capitals  32  24-point,  old  body  Lower-case  22 


Capitals  45  36-point,  old  body  Lower-case 


Capitals  64  48-point,  old  body  Lower-case  45 

399 


Ornamented  Types  of  the  DeVinne  <Press 


DADO 

A.  T.  F.  Co. 

Four  sizes  with  Lower-case. 


in  fhe  construction  of  a  new  face  of  type,     tfhe  Old  Italian 

fashion  of  reversing  th.e  position  of  thic^  arid  thin  strokes 

seem  to  have  been  the  motive  of  this  fantasy 

Capitals  14^  12-point,  old  body  Lower-case  K)i2 


LIjlEg  Wltf  Ji 
are  added  to  increase  the  eccentricity  of  form  that 
is  supposed  to  lend  a  charni  to  the  type 

Capitals  19  16-point,  old  body  Lower-case  13 


It  has  a  curiously  distmct  lower-case 

Capitals  26  24-point,  old  body  Lower-case  18 


A  QOOD 
1o  con\bine  With  other  paces 

Capitals  34^  36-point,  old  body  Lower-case  24 


400 


Ornamented  Types  of  the  ^eVinne  Press 


CABALISTIC 

American  Type  Founders  Co. 
Seven  sizes  of  capitals  only 


A  seRviceABLe  LecteR  in  ic$  RIGJJT  PLA<?e. 
DO  nor  Be  Tempieo  FOR  cse  ?AKG  OH  pRejeRVinc  A  neeoLess 
in  A  composition  OF  LARGER  size?  OH  TBI?  EAce  TO 

smsLL  size?  FOR  PROP6R  names 
Capitals  Q1^  6-point,  old  body 


Ann  BLAIJK  LGCCGK 

ADD6D  TO  ROmAn  (f  APICAL?  mAY  BG  5GLPFUL  in  $01216 

OF  pRincinc,  sac  C^GY  ARE  A^epTABLe  ODLY  in 
ooe$  noc  LGAD  An  ILLICGRACG  FGADGR  co 
C6G  meAnmc  OF  TBG  LGCCGR? 

Capitals  12  8-point,  old  body 


ADD 
SRAPG.    PRGFGR  CRG  mODGRD  $f)APG 

Capitals  14^  10-point,  old  body 


$  A  USGFUL  CYPG  co 

A  BIG  miCIAL  OJITI5  BLA(JK  LGTTGR 

Capitals  18  12-point,  old  body 

AID  TO  (£ORRG(£ 

Capitals  25  18-point,  old  body 


BLACK  LGTTGR 


Capitals  3484  24-point,  old  body 


Capitals  4884  36-point,  old  body 

401 


Ornamented  Types  of  the  <De  Vinne  Press 
ENGRAVERS'  OPEN 

From  the  Bruce  Foundry 


A  BERYICEABLE  ILLUSTRATION 

'  tbe  SligMiaess  of  Becoratiom  tliat  is  really  needed 
give  Attractiveness  to  a  new  style  <rf  Letter 

Capitals  16  10-point,  old  body  Lower-case  11 14 


SYfflMITBY 
[ore  pleasing  than  any  addition  of  Tine 
tanles  or  flourished  terminations 


Capitals  25 


18-point 


Lower-case  17 


OFT  El  U81B 


Capitals  40 


28-point,  old  body 


Lower-case  28 


A  (&CKOB  MATE 
"For  ©Etline  Italic 


Capitals  50^2 


36-point,  old  body 


Lower-case  37 


~\\ 


402 


Ornamented  Types  of  the  'DeVinne  'Press 
CLOISTEE  SHADED 

Five  sizes  from  American  Type  Founders  Co. 
Two  sizes  of  same  face  condensed 


FO 


Capitals  71 


40-point,  old  body 


Capitals  3934 


22-point,  old  body 


LIKED  BY 

Capitals 


SFHS 


18 -point,  old  body 


IUT  MOW 

Capitals  23J-2 


T5'B|lfY'O'TfT2lTfrP'Ta^T!li   QT* \iTTf  Ts> 
Jr MUM  I  Mil  1  Js#iJ   O  *   *  JU-El* 


12-point,  old  body 


IS  IT  MORE  AB 

Capitals  1434 


TEAM  SOME  OF  ©PI  HEW 

8-point,  old  body 


Capitals  253-4 


;iST  BE  OBSkMF"1 

18-point  condensed,  old  body 


TYPOQIIFIf 


Capitals  58 


40-point  condensed,  old  body 


403 


Ornamented  Types  of  the  <De  Vinne  'Press 
ORNAMENTED  No.  1049 

Has  figures,  but  no  lower-case 


Capitals  38 


18-point,  old  body 


Capitals  59*2 


24-point,  old  body 


pEEBIiEEEB       /=  ~~1P. 


Capitals  85 


36-point,  old  body 


Capitals  220 


48-point,  old  body 


ORNAMENTED  No.  1515 

Bruce 


Capitals 


48-point,  old  body         Has  figures,  no  lower-case 

404 


Ornamented  Types  of  the  <De  Vinne  Press 
GRAVERS'  SHADE 

Farmer 


Capitals  89 


36-point,  old  body 


Capitals  62 


24-point,  old  body 


Capitals  44  ig 


18-point,  old  body 


Capitals  30 


12-point,  old  body 


ORNAMENTED   No.  1032 

Bruce 

AN  IMITATION  OF  A  REVERSION  OF  THICK  AND 
THIN  STROKES  AFTER  OLD  ITALIAN  FASHION 

Capitals  IT1^  10-point,  old  body  No  lower-case 


HUGH  ADMIRED  AND  FREQUENTLY  USED 
BY  LONDON  PRINTERS  OF  1850 


Capitals  2Q14 


12-point,  old  body 

405 


No  lower-case 


Ornamented  Types  of  the  <De  Vinne  Press 


OXONIAN 

American  Type  Founders  Co. 


is    EFjoyoKeD   so   sonsmupii   sunsftise    sy    5i?e 

FLEXIBILITY  AND  ACCOMMODATING  KATURE  OH  OUR  ALPHABET,  FOR  IT  CAN  BE 

THINNED  OR  THICKENED,  BENT  OR  TWISTED,  HADE  TALL  OR  SQUAT, 

WITH  AND  WITHOUT  DECORATION  IN  AN  INFINITE  VARIETY  OH 

CONFORMATIONS.     ©O  HELP  THE  READER?    FJARELY. 

SO  AID  THE  EXPRESSION  OF  THE  WRITER? 

SOMETIMES 

Capitals  lO1^  6-point,  old  body  Small  capitals  814 


so  DecQonssi^se  SF?G 

OP    THE    DESIGNED,  WHO    PRODUCES    IPHESE   €GGEN1I^IG    IPYPES   TO 
MEET    THE    INGESSANUI    DEMAND  OP     P^INHIEI^S  AND  AD- 

SHE  NEW  TYPES  AJ?E  SUPPOSED  mo  BE 

HELiPPUL  IN   ATTEMPTS  AT  THE    PRODUC- 
TION   OP    WHAT    IS    GAliLED 


Capitals  16  8-point,  old  body  Small  capitals 


m  ©yse  is  no© 

IN  E>AIN1UNG  OF?  SGULPIPU^B.      IT  DOBS  NOT  LIVE 
POI^EVEF>.      flDMIF>ED    IN    THIS    DEGADE  ; 
DESPISED  IN  THE  NEXT. 


Capitals  16  10-point,  old  body  Small  capitals 


0)ei^isoF}ious 

MAY  BE  UNWISELY  USED;   IT  MAY  BE  HAGI^- 

NEYED  ON  TRIVIAL  WOI^^  POI^  WHIGH 

IT  IS  NOT  PITTED,  UNTIL  MEN  OF 

TASTE  REJECT  IT  IN  EVEI^Y 

COMPOSITION 

Capitals  19  12-point,  old  body  Small  capitals,  16 

406 


Ornamented  Types  of  the  'DeVinne  Press 
OXONIAN 

American  Type  Founders  Co. 

©yee  is  SF?G 

ADAPTATION    OF   A    CQlDDLB-AGB 

UNGIAL  liBJPTE^ING-     SHOWS 

BEST  IN  FANTASTIG  JOBS 

Capitals  26  18-point,  old  body  Small  capitals  20 


<gorcne<g©s 

UNGIAL  INITIAL  TO  A  LIGHT 
BLAG^-LETTEI^  TEXT 

Capitals  39  20-point,  old  body  Small  capitals  27*2 


USING  ON  TRIVIAL 


GHOOSE  LARGER  SIZES 

Capitals  39  24-point,  old  body  Small  capitals 


Figures,  some  needlessly  fantastic,  are  provided  for  each  size. 


40T 


Ornamented  Types  of  the  'DeVinne  'Press 


TEMPLAR 

With  eccentric  capitals 
Boston  Type  Foundry 


OLD  UIOTL  EQODE^IZED 

Lower-case  is  simple  aijd  readable 

Figures  are  too  Fantastic 

Capitals  2714  22-point,  old  body  Lower-case  20 

1254507^90 


Do  i}ot  niake  Capitals  Obscure 

Capitals  37^  28-point,  old  body  Lower-case  24*2 


FLORID 

It  Serves  for  Initials 
witlj  Small  Type 

Capitals  5034  40-point,  old  body  Lower-case  SSl^ 

408 


Ornamented  Types  of  the  <De  Vinne  <Press 
HALM 

Six  sizes  with  lower-case  and  figures 


r-  HALM, 

A  ^estepep  °f  penj&pkable  ability  Was  induced  by  the  PC  V'PPC  PpeSS  to 
deVije  thi$  eppatic  style  to  please  buyers  of  ppii?tir?§  uibo  utepe  tipir;§  of 
cpudep  poVelties  the?  fi?  fasbioi?.  Pesi^i?  be^a^  With  iptept  to  in^ttate  o^e 
?  of  Op'eP^a'  Iettepii?§  as  fp  Ss^PSCP't  ^^  Het>IoeW,  by  n?akfi?&  the 
of  the  letter's  at  tbe  top  apd  pot  at  the  foot  of  each  cbapactep 
Capitals  H^  8-point,  old  body  Lower-case  834 


rne  veARS 

foiipd  faVor  as  a  pleasii;^  poVelty  ip  the  con7posltloi7  of 
Ca^,  Circulars,  l_ei~tep  HeacJ'9^S  a9^  S17?21"  lobs 

Capitals  16  10-point,  old  body  Lower-case  11 


ir  ITS 

n7l^bt  be  used  pou!)  to  n9ucb 

Capitals  21  12-point,  old  body  Lower-case  14 


FANTASTIC 

pot  n?o,ke  it  difficult  to 

Capitals  SO^  18-point,  old  body  Lower-case  20 


Weep  composed  lipes 

Capitals  43  24-point,  old  body  Lower-case  28*2 

ORIENTAL 

Top 

Capitals  58  36-point,  old  body  Lower-case  39 

409 


Ornamented  Types  of  the  ^eVinne  'Press 
MOXON 

Dickinson 

HAIR  LINE  TYPES  ARE  NOT  IN  FAVOR 

Capitals  1914  Has  figures  12-point,  old  body 


MURAL 

Boston 

STUBBY  SERIFS  ADDED  TO  GOTHIC  FORM 

Capitals  18%  12-point,  old  body 

MAY  BE  USED  WITH  PROPRIETY 

Capitals  261$  18-point,  old  body 

FOR  PAPER  COVERS 

Capitals  37  24-point,  old  body 

13  UNASSUMING 

Capitals  57  36-point,  old  body 


The  four  sizes  of  this  face  have  figures  and  line  endings,   and 
this  form  of  ^  on  all  sizes,  which  use  only  when  directed. 


410 


Ornamented  Types  of  the  'DeVinne  'Press 
ATHENIAN 

Six  sizes  with  small  capitals  and  lower-case 

\ 

THIS  ATHENIAH  STYLE  HAS   THIN  LINES 

It  shows  a  timid  attempt  at  the  transposition  of  the  customary  positions  of 
Thick  and  Thin  Strokes  after  an  old  Italian  Fashion.  To  use  it  satisfactorily 
for  Cards  and  Circulars  two  or  more  sizes  should  he  used  in  combination. 

CJOOD    WORK    CAN    BE    DONE    WITH    CAPITALS    AND    SMALL    CAPITALS 

C-point,  old  body         Capitals  12         Small  capitals  10*4          Lower-case  914 


ATHENIAN   IS  AN  EASILY   READABLE  TYPE 

Each,  size  has  small  capitals,  figures,  and  lower-case  sorts.    It 

will  not  bear  huddling.    Its  composition  is  most  pleasing 

WHEN  THE  LINES  ARE    DOUBLE  LEADED 
8-point,  old  body         Capitals  15          Small  capitals  12  Lower-case 


COMPOSITION  BEST  IN  BLACK  INK 
Never  select  it  for  RED  OR  ANY  OTHER  PALE  COLOR 

10-point,  old  body         Capitals  18*2          Small  capitals  15          Lower-case  14 

ITS  GOOD  FEATURES   SUFFER 
When  set  solid  or  mixed  in  job  work  with 

OTHER  FANCIFUL.  STYLES 

12-point,  old  body       Capitals  22^       Small  capitals  IS^       Lower-case 


TOO  THIN  FOR  DISPLAY 
In  the  Advertisements  of  Newspapers 

OR  IK   ORDINARY  JOB  WORK 

18-point,  old  body          Capitals  30         Small  capitals  22*2          Lower-case  19 


SHOWS   AT   ITS   BEST 
In  open  Job  work 

ABUNDANT   WHITE   SPACE 

22-point,  old  body        Capitals  39*4         Small  capitals  30        Lower-case  2514 

411 


Ornamented  Types  of  the  <De  Vinne  'Press 
WASHINGTON  TEXT 

Keystone  Type  Foundry 


ait  ox  of  one  fyorn 

Capitals  70^  36-point  Lower-case  32% 


On  tl>e  !UfSi6e  of  its 
!Kea6  as  if 


Capitals  58*2  30-point  Lower-case  2684 


to  Mlake  an?  inclination 
to  righteousness  of  appearance 

Capitals  48  24-point  Lower-case  22 


w  ^IbertTDvirer  an6 
woul6  ^ave  stared  at  tfyis  "artistic"  vari 
alien  of  tfyc  ^&lacK-letter  Capital 

Capitals  3634  18-point  Lower-case  17 


fyis  Tace  of 

only  wfyen  it  l)as  been  Sp  ecially  5\equeste6. 
is  not  an  improvement  to  any  print 

Capitals  2884  14-point  Lower-case  12*2 

412 


Foreign  Text  Types 


Foreign  Text  Types  of  the  <De  Vinne  '-Press 


GREEK 


1  Bi/3Aos  yevecreojs  'Ii)<roO  Xpi(7ToO,vioO  Aaj3l£,  rijs    ©ajxap-     4>apes    fie    eye'i'i'Tjcre    rot    'E~p'-i/i  • 

wioS  'AjSpoajm.     2  *A/3pa.ofi    eyefi'»)(r€    TOV    'I<ra-  "Ecrpw^i  Se    eyei/vijo-e   TOI>   'Apaji.       4    'Apn/u.  ie 

a*'     'I<raaK  8e  eye'iTTjcre  TOI> 'Iaiaii/3'     'laicujS  5e  eyeVfTjtre  TOV 'Afxn/afiajS'    'Afx.ii/a5a/3  6e  iyfvvr)<rt 

eyeVvrjiTe  Toy  'lou'Say,  (cai  ro\i<;  aSeAipovs  avroO.  TOV  Naacro'cii''       Nacura'wi'  je  «y«Vv7)(re  rbi'  iaA- 

3  'lovSas  8e  eyeVvj)<7e  rbf  $apes  (tat  701*  Zapa  e»c  i±(av. — Matth.  i.  1-4. 


Capitals  914  6-point,  old  body.     A.  T.  F.  Co. 

1  pair  of  eases 


Lower-case 


21   Ttjetat  dt  viov,  xai  xa/Jffei?  ro  OVQ/J.U       l-irat  vior,  xai  xalkaovai  to  orofia  avtov 
avtov  'iHSOYlf'    avtog  yciQ  aaJan  tov  iaov        *EMMANOYHA-     o  lati  fit^tQut]vivoi.itvov. 


avtov  drto  t(av  u/ActQtiiuv  avttav.     22   Tovto  juj^'  ^juwv    o    Sto'j.1'      24    JteyfQ&fi 

di  oiov  yiyoviv,  iva  7ii.t]()tu9t]  to  $i]9iv  vrto  'l(oai}ip  urto  tov  vrtvov,  Irtolrjaev  <ug 

tov    Kvqiov   Sia   tov   Ttgorpi'itov,   ityovrog-  ta^tv  avtia  o  ayyt^oj  Kvglov,  xal  rta 

23  "  'idoii,  »;  rtaQ&ivo?  Ir  yaatQl  'i^si,  xui  tt-  ti\v  yvvalxa  avtov.—  Matth.  i.  21-24. 


df  d 


Capitals  9 


7-point,  old  body 
2  pairs  of  cases 


Lower-case 


5  Za>l/U6>v  8e  iyEVvriae  TOV  Boo£  EK  r^f  Tov'Po/3odfj.''Po/3oafj.6esyEW7iaeTov'A^id' 

'Paxdfi'     BooC  de  kyEvvrjGE  TOV  'fl/3^d  £/c  'Apia  6s  kyEWTjae  TOV  'A<rd.      8  'Aerd  de 

r^f  'PovO'     'i2/?$d  de  eyevvr/as  TOV  'leaaai.  eyEvvqoe  TOV  'lawra^dr'     'Iwcra^dr  de  kyiv- 

6  'lEoaal6E£y£vvT/aETbv  Aa,pl6  TOV paaihsa'  VJJOE  TOV 'lupdfj,'     'lupdfj.  6s  EyEVVtjaE  TOV 

Aa/3td  de  6  paatfavc;  kyEwqae  TOV  EoAo/zwra  'O&av. — Matth.  i.  5-8. 
EK  Tijg  TOV  Ovpiov.     7  ZoAoyuwv  de  eyiwTjae 

Capitals  lO1^  8-point,  old  body.     A.  T.  F.  Co.       Lower-case  9*4 

3  pairs  of  cases 


4    Ka<    rfuvayaywv     iravrag    TOIJJ       •^iffTi)  si  sv  <roT$  yye^bffiv  'Iou5a*  ix  <So\J 
xai   ypa;ji.(ji.aT£rg  TOU  Xaou,       yap  J|£Xsij(f£Tai  Tjyo^jxfivo? ,6'rfTig  Troi/xa- 
*ap'  aurwv  »ou  6  Xpitfrog       v£iVov  Xadv  jxou  TOV  'Irfpa»)X.'7     7  Tore 
5  Oi  5i  sTvfov  auTcy-  'Ev 
j8a.ia.£-  ourw  yap  y£y- 
•Tpo^vjTou'      6  "Ka/ 
MC  iXa- 


y£vva<rai. 


pairrai 

rfu 


Xa^pa  xaXs'tfag  T 
yjXpi/Swrfs  irap'  aurwv  TOV 
(paivojas'vou 


Matth.  ii.  4-7. 


Capitals  12^ 


10-point,  old  body,  Enschede 
1  pair  of  cases 


Lower-case 


415 


Foreign  Text  Types  of  the  £>e  Vinne  '•Press 
GREEK 


9  '0£a?   8s  £YEWY]oe  TOV   'Itodflajv  vrjae  TOV  ' 

'Ia)d6a/jL  81  EYEVVYJOE  tov  "A^aC"  ^A^aC  a&too,  enl  rrj^  /JLETOIXSOWXI; 

8e  EYEVVYjae  tov  'Efextav.     10  'ECsxias  12  Meta  8s  TYJV  fietotxeotav  Ba 

8s  EYEWYJOE  TOV  MavaaoY]'     Mavaaa^i;  'le^ovta?  e^ivvr^as  tiv  SaXa6t4jX'      Sa- 

SE  EYEVvrjae  T&V  'A^.«uv  'Afiu>v  8s  EYEV-  XaBtvjX  8s  EYEWYJOE  TOV  Zopo{3a{iEX. 
VY]OE  T^V  'Iwoiav.     11  'Icuoia?  SE  EYEV-  Matth.  i.  9-12. 

Capitals  ll1^  Tischendorf,  corps  8.    Flinsch        Lower-case  9^ 

2  pairs  of  cases 


13  Zopo(3dj3eX  8k  eY^WYjoe  r6v  81  iY^vvijae  t&v  'EXeaCap*    'EXe- 

'ApiooS*    'AjSiooS  8k  IY^VVTJOS  tov  aCap    8^    lY^VV7]a£    T°v   MatOav 

'EXtaxe{{t-  'EXtaxsiji  8s  iY^WYjas  MatOav  8^  iY^vvTjoe  TOV  'Iaxa>|3. 

t6v  'ACwp.     14  rACo>p  8^  IY^V-  16  'laxwp  8e  IY^WTJOE  TOV 

T6v     SaSwx-      Sa8(bx     8s  TOV  otvSpa  Mapia?,  IS  r]< 

TOV  yAyjsi\L-    'Axei^    8s  'IrjOo5<;  6  XeYO{i.evo<;  XpiaT6?. 
TOV  'EXiooS.  15  '  EXtooS  Matth-  J-  13'16- 

Capitals  13%  Tischendorf,  corps  10.    Flinsch         Lower-case  11 

2  pairs  of  cases 


17  Ilaaat  ouv  at  ysvsat  dicb  'Appad|x  icoc  Aa^tS, 
'  xac  diro  Aa^tS  i(o;  TT)C  [AStoixsatac 
,   yevsai   Ssxatsaaapsc*    *at  diub 

icoc  ToOXptatoO,  ysvsat  Ssxateaaapsc.   18  ToO 
O  XptatoO  -^  Ysvvqotc  OOTCOC  *^v 

Mapiac  i(p  'Icoavj^,  irpiv  •Sj 
sv   YaatP^  £Xouaa  ^%  icvsoiiaTOc 

19  'Icoavjcp  §e  6  dvYjp  a6t7jc,  Si^atoc  cov,  xai  |JLYJ 
aoiYjv  TuapaSsiY^^001^  ipOoX^frl]  XdQpa  dicoXOaai 

20  TaOta  §s  aotoO  £v6o{iY]9£vuoc,  ^ 

'  6vap  scpdvYj  a6tq>,  XSYCDV    'IcooYjcp,  otic 

icapaXa^scv  Maptav  TYJV  Yovai*d  oot>'   TO  Ydp  sv 
Y£VVY]9£V  £%  irvsu^atoc  eattv  fefCoo.-***  i-  "-20 

Capitals  15  Tischendorf,  corps  12.    Flinsch       Lower-case  1314 

2  pairs  of  cases 

416 


Foreign  Text  Types  of  the  <De  Vinne  Press 
GREEK 


16     Tore  'HpoiiS^s,  iSwv  on   eve- 

TTCLL^Or}     V7TO      TO>V       ^UtytOV,      e 

Xi'av  Kai   dTrooTci'Xas   dvetXe 
Tor?  iratSas  TOVS  ev  BrjflXce/A,  Kai  ev 
TOIS  optots  avTT/s,   cnro  SteTOvs 


TrapaAajSe  TO  TraiSt'ov,    KUI 
avTov,   Kai    Tropcvov    eis 
TeOvrJKao-i    yap     ol 

T^fV      l/'V^V      TOV     TTatSlOU. 

21     'O     8e    ce^eis     TaeXac    TO 


•yjv 


Kara   TOV 


ov      TraioYov,   Kai   Trjv  (irfrtpa    avTov, 


^Kpt)8o)O"e  Trapa  TUJV  /wtywv.     1 7  TOTE 
fTr\r)p(j)9r)    TO     prjOev    VTTO 
TOV  irpo<f>rJTov,  XeyovTOS'    18   " 
ev  'fafJM  ^Kovo~0r},  Oprjvos 
/AOS  Kai  68vp/u,os  7roXv< 
ovou  Ta  TtKva  avr^s1    Kai  OVK 
Trapa.K\r]9f)vai,  OTI  OVK  eto-t."      19  Te- 
XevTiycravTOS    Se    TOV  'HptoSov,    iSov, 
ayyeXos    Kvpt'ov   KaT*  ovap   tfmivertu 
TO)  '  loxrrjfj)  ev  AtyvTTTO),    20  Aeywv 

Capitals  12^          Person,  10-point.    A.  T.  F.  Co. 
1  pair  of  cases 


'Io-paiyX.  22  'AKOvo~as 
8c  OTI  'ApxeXaos  /8ao-tXcva  CTTI  T^S 
'lovSatas  dvrt  'HpciSov  TOV  TraTpos 
avTov,  f<f>o(3ydr)  CKCI  aT 
/wtTio-^eis  8e  KOT'  ovap, 
Ta  (icpr)  T^S  raXtXatas'  23  Kai 
eX0a>v  KaTtaKrjfffv  eis  TroXiv  Xeyo/ieV^v 
Na^apeV1  OTTWS  TrXypwOfj  TO  prjdev 
oia  TOJV  Trpo^^Taiv,  OTI  Na£wpaios 
.—  Matth.  ii.  16-23. 


Lower-case  1034 


>.  y"  (3).  1  'Ey  Se  rat?  ^/xepat?  e/cetVat? 
yla)dvvr)<;  6  /SaTTTtcmr)?,  Krjpvcra'cov  ev  rrf  eprjfjLto  Tr)<s  'lovSata?, 
2  Kai  Xeytuv  MeravoctTe-  ^yyt/ce  yap  17  ySacrtXeia  TWJ/  ovpa- 
va>v.  3  Ovro?  yap  earn/  6  pr)0el<;  viro  'Hcratou  TOV  irpo^iJTov, 
Xeyoi/TO?-  "  $>a)vrj  /Sow^ro?  e^  T^  epij^co,  'Erot/otacraTe  ri)r/ 
oSot'  Kvpiov,  €vdeLa<s  iToielre  ra?  T/oi/8ous  avrov."  4  Avros 
Se  'Iwaw^s  el^e  ro  evSv/ota  avrov  CITTO  rpi\wv  Ka/xryXov,  >cal 
pfj.dTLVTjv  Trepl  T^V  6<r<j>vv  avrov •  17  Se  rpo^rf  avrov 
a/cptSe?  /cat  /neXt  aypiov.—  Matth.  m.  14. 

Capitals  1434  Person,  12-point.    A.  T.  F.  Co.       Lower-case  Ills 

1  job  case 


417 


Foreign  Text  Types  of  the  *De  Vinne  Press 


GREEK 


8  Jfai  itffityas  avrovg  «tg  Bj^Atl/w,  naitflov.     10  '/tfdvrtg   <fl  TOV  aC 

tint'  IIoQtv&svTts,  axotjfrug  t£trdo"are  f  xaoijo'av  xapav  /wt  ydXijv  6~qpd<foa.     11 

.Tf(ii  rov  naitflov  Inav  rf  f  *i;  o>,  Tf.«rr«y  •  Kai  {Xd'dvrrg  f  /s   ritv  otxtav,  tltfov  rb 

ytit.tt.ii  (tot,  6'nca>g  xc.yw  iX.d'div  n(toG-  naufiov    /tcra     Maoi'ag      r/7»     /ttjroog 

xvvijG~<D  arroJ.    9  Ot  cfi  axov(Tavrf g  rov  avrov*     xai   7i(0"dvrf 

|3a(T(A.lb>g,    ixfuftv&^Gav  xai  /(for,   6  avrcj,  xai  avo^avrc g  rovg 

aOr^o,  ov  tiffuv  ev rH  avaroX^,  nooijycv  avrdiv,  noofF^vtxxav  avrcj  (fc5oa,  x(>v- 

avrovg,  f'cog  t XO-tuv  f'r7T»(  inavta  ov  »Jv  TO  o"6v,  xai  Mjavov,  xai  6/tvQvav. 

Matth.  ii.  8-11. 


Capitals 


7-point,  old  body,  bold  face 
1  pair  of  cases 


Lower-case  9 


12  Jfai  XQYitiiaTia&kvTfs  XUT'  £ijTflv  TO  nai6iov,  TOV 
ovao  fir}  dvaxdfityai  nqoq 'Ilycj- 
otiov  dvfXQ*QiJo'av 
avTtov.  13  'Ava- 
6k  avTotv,  l6oVf 
Kvoiov  tpaivfTai  xaT' 
ovao  T(i>  'Ia>ffvj<p,  Aeyotv'  'EyfQ- 
TO  Jiaitiiov  xai 
avTOv,  xai  €pfvye  fl$ 
'  xai  iff&t  txfl  fot<s  av 
ooc  ftf^ei  ydo  'Hotudi'is 

Capitals  14^4  9-point,  old  body,  bold  face          Lower-case  1114 

1  pair  of  cases 


Q,  xai  dvf%ti>Qriafv  slq  Ai- 
yvjiTOV.  15  Kal  rjv  fxet  eatq  T^g 
TflfVTris  'If^turfoV  iv  a  xlijQa*- 
&y  TO  ffri&fv  vno  TOV  Kvqiov 
6ia  TOV  Jioo<pyTOv,  }.iyovTO$' 
"  'E^AlyvxTOV  ixdkeoa  TOV  viov 


ftov 


"—Matth.  ii.  12-15. 


XG3PION  AIA4>€P€I 

TO  ee  cpo  i  KCOT 

N  O  P  M  I  C  AV  n- 
OOYNI6MONY- 
€  M ATNOYTOYA 
TTAN€Y<t>HM* 
AHOYnOTCONKO 
KAfO€rO-l  €N  I  K 
KOYPITOPOCt 

10-point  Inscription.     Dnigelin  Type  Foundry 

418 


2  job  cases 


Foreign  Text  Types  of  the  <De  Vinne  Press 
GERMAN 

Bruce 

SI*,  au«  Heft*  £ftale«  ©riinben,  Jparmonten  $8r'  i*  flingen, 

Die  ber  falte  9lebel  britdt,  £8ne  fuget  JpimmelSruft, 

flBnnt'  i*  bod>  ben  Slogans  finben  Unb  bte  lelfyen  SSHnbe  brhtflen 

«d>,  »ie  fu$U'  t*  mi*  begludt !  SKlr  bet  Ditfte  Solfom  ju. 

Sort  erbltdf  i*  f*6ne  J&iigel,  ®olb'ne  gruifcte  fe^'  t*  gluten, 

®»ij  iung  «nb  ewig  flrun ;  SOBtnlenb  jtttf*en  bunHent  «au6, 

£a»'  I*  ©d^wingen,  ^Stt'  i*  gluget,  Unb  bie  SJtumen,  bit  bort  blii^en, 

9la*  ben  ^iifleln  »6g'  i*  M«.  SHJerben  !etne»  SDinter*  JRaub. 

Capitals  10                          6-point,  old  body  Lower-case  6 

2  pairs  of  cases 


2)cr  Du  son  bent  £tmmel  bifl,  ^  tdj  bin  be«  2reikn«  rniibe ! 

SlHc  ftreitb1  unb  ©^mtrjen  fltttejl,  2Ba«  foH  aC  bie  $«al  unb  Cup  ? 

Den,  ber  bowelt  elenb  i|l,  ©uger  griebe, 

Doppelt  mil  grquitfung  fitttefl !  tf omm,  ad&  f omm  in  metne  Srujl ! 

Capitals  1214  8-point,  old  body  Lower-case  714 

5  pairs  of  cases 


'  etttfhr  S3e|errfc^er  unb  9)?aja^  @o^n,  ber  genmnbte, 
9te^teten  ^eftig,  eg  nwnfdjt  |eber  ben  ^errlic^en  3)retg. 
$erme$  serlangte  bie  Ceier,  bie  £eter  »erlangt  auc^  Sfpotton, 

Dod^  uergefcltcf)  erfullt  ^offnung  ben  S3eiben  bag  £er$ ; 
X)enn  rafc^  branget  fic^  2lreg  ^eran,  geiualtfam  entfdjetbenb, 
bad  golbene  @j)iel  tuilb  mit  bem  ©fen  entjwei. 

mapig,  ber  f^abenfro|e ;  bod)  $I)o&03 
tlnb  ben  SWufen  ergreift  inniger  <Sd)tnerj  bag  ©emitflj. 

Capitals  1484  10-point,  old  body,  No.  90  Lower-case 

2  pairs  of  cases 


£6tte  (tnb  mit  Scrbritf,  boc^  fctetkt  am  mcifien 
mtr  DcrfyajH;  fldffenb  jerretft  e0  rnein  O 
(Sinen  ^unb  nut  ^r1  icfy  fe^r  oft  mit  fro^em  23djagen 

23ettenb  Hdffen,  ben  ^)unb,  ben  jtd)  ber  S'la^ar  erjog; 
Derm  er  Wte  mir  einfl  mein  •Sftcibcfyen  an,  ba  fte  jtcty 
3u  mir  fta^l,  unb  oerriet^  unfer  ©e^eimnif  Beina^* 

1  \§  i^n  fceflen,  fo  benf  i^  nur  immer:  fie  fommt  wo^l! 
£)ber  id)  benle  ber  Beit/  ba  bie  Srmartete  tanu 

Capitals  18  12-point,  old  body,  No.  90  Lower-case  10 

1  job  case 

419 


Foreign  Text  Types  of  the  *De  Vinne  'Press 


GERMAN 

Bruce 


3d)  fiab'  tin  trtutg  per]  flefnnben,  3ttjt  toirb  beiu  Iic6c8,  ftitteg  SBoIten, 

So  toirb  auifi  treu  bag  Wliirf  mtr  fein !  SRein  Wargtn--  unb  mrin  K&rnbftmt, 

3n  Qutcn  tote  in  60 jcn  @tunbtn  3n  £0118  unb  yen  ben  gfrieben  tialttn, 

SBor  i*  mil  iJuft  unb  SiDmtrj  nflctn.  Set  laug'  Bern  SeljnenBen  («  fern. 

Capitals  11        6-point,  old  body  (modern  fractur)        Lower-case  6^ 

1  job  case 


Vofe  Did),  Wdicbtc,  nidjt  rcu'n,  Hop  in  mtr  fo  frfincll  Did)  ergeben! 

Wloub'  el,  id)  benle  nidjt  frcd),  Dcufr  nidjt  ntebrtg  non  tir. 
JBtrlfnd)  tuirfcn  Die  $feile  tied  'Kmor :  cintfic  rtljcn, 

Unit  bom  fdjIcidjrnDcn  (Hift  franfct  auf  ^oljrc  bad  §erj. 
Wbf r  miidjtin  bcftcDrrt,  mtt  frifd)  ncfdjliffentr  Sdjtirfc, 

Xrinncu  Die  onDmi  ins  SRarf,  ^iiuDcn  brb,cnDc  bad  Slut. 
3n  Dcr  Ijcroifdicn  ,Scit,  Da  ©otter  unD  ©b'ttinnen  licbtcn, 

gfolgte  Segterbe  Drm  Slid,  folgte  ©enufj  Dcr  Scfltcr. 
(filttubft  bit,  e£  tjobf  ftd)  lange  Die  Wottin  Dcr  fitebe  bcfonncn, 

*ftl0  im  ^Diiifdjcn  §ain  ctnft  ib,r  »nnd)ifc5  gefiel? 
§attc  t'una  gefanmt,  ben  fdjonen  Sdjlhf cr  ju  fuffcn, 

£>,  fo  l)iitf  ilin  nrfdiltiiiD  nciDcnD  Aurora  getoetft. 
C»cro  crblirftc  geanbern  am  lauten  ^cft,  unb  6ct)cnDc 

2iiintc  ber  Siebenbe  ftrt)  l)ciR  in  Die  ndditlidjc  J^Iutt). 
!ttl)ca  3i)lnia  toanbelt,  Die  f iirfllidic  ^nngfran,  ber  liber 

JlSafier  ju  fdjojifen,  Ijiitob,  unb  fie  ergreifet  ber  ©ott. 
«o  erjeugte  bie  3bl)ne  fid)  JUard!  —  Jiie  3toiUtnge  tranfet 

Gine  aSiilfln,  unb  !Kom  ncnnt  ftd)  bie  gfitrftin  ber  SBelt. 

Capitals  13  ^      8-point,  old  body  (modern  fractur)      Lower-case  814 

1  job  case 


$erJbftltd)  lenditct  bie  /ylnmmc  nom  liinMirf)  gefeQigen  $erber 
f  niftert  unb  sliiiijct,  tote  rn jd) !  faufenb  lunu  iWctiig  cuipor, 

3)icfcn  5tlicnb  erfrcut  fie  mid)  mcljr ;  benn  el)'  not^  jur  to^Ie 
Sid)  ba£  ^iinbel  tjf r^eljrt,  initcr  bie  Slirije  fid)  neigt, 

^oiitmt  mctii  licblidicv  ^liiJidicn.  Tnini  flamincn  ;)f eiftg  nnb  cdjcitc, 
ttnb  bie  cnoiirmctc  9tadjt  toirb  un»  ein  glonjenbe^  ftcft. 

Capitals  IS1^         10-point,  old  body  (Condensed)  Lower-case  9 

1  job  case 


420 


Foreign  Text  Types  of  the  T>e  Vinne  'Press 
GEKMAN  TITLE 

Bruce 

Xfefe  Stffie  fterrfcftt  im  SBaffer,  Seine  Suft  turn  fdn«t  (Zefte! 

Ofmc  Slegunfl  nilit  bad  3Wccr,  XcibeSfWle  fiirdjtcrlid)  ! 

lint  befummcrt  fi'clit  bcr  2d)iffcr  3n  ber  ungcbriiern  9Bdte 

Wlattc  Mladic  ring*  umlicr.  9tegct  fcinc  2Bcric  fid). 

Capitals  12!^  6-point,  old  body  Lower-case  T1 

1  job  case 


ft^toarjen  iteugelein!  Unb  Mcfc  Seimentoanb 

JlScuit  i^r  nur  tt>in?  ct,  9Soc  meinem  Jpcr^cn,  — 

@S  fatten  J^dufcr  cin,  SSefcenf  bod&  nuc  ctnntal, 

®«  fatten  <Stdbtc;  £ie  fottt'  ni*t  fatten  ! 

Capitals  1784  8-point,  old  body  Lower-case  10 

1  job  case 


nmt'  etn  ^bor,  bcr 

feine  SEBeife  iebem  tattge* 

rtMitbcx^  sl^ort  bat  cMcn 
Hub  fcbarfcn  §BH(f  hat 


Capitals  21  10-point,  old  body  Lower-case  12 

1  job  ease 


recbte  X<t«)c(  8)ttt  mtr  ftill 
mcbr  ale  iebe$  Vob  gefatten, 
ber  ba$  <$obc  fiidicn  tuillf 

jietnt  bie  ^emttt  tuobl  I»PV 


Capitals  2414  12-point,  old  body  Lower-case  14 

1  job  case 


9htr  cinco  biittft  mtr 
^af|  iticfof  o  mit  ^fnmttt  itfiermittetf 
3$citit  cuter  ^er|en  rtditett  murfit\ 
^em  fetter  nte—  >as  J^eri  (icfiltttet, 

Capitals  35^  18-point,  old  body  Lower-case  19*2 

1  job  case 

421 


Foreign  Text  Types  of  the  <De  Vinne 


SCHWABACHER 

(German) 
From  the  Conner  Foundry 


Die  Scfynxxbacfjer  tourbc  juerft  in  ben  Drucft»erfen  con  Sdjoffer  in 

Zltains  gebraucfyt,  unb  tmrb  fyeute  nocfy  gcrn  in 

bcutfcfjcn  Bucf^crn  bcnu^t. 

Capitals  1814  10-point  Lower-case 

1  job  case 


Die  cilteften  Scfyrtften  pnb  btc  gotifcl?en,  meld?c  in  (Btiten* 
berg's  Bibel  im  3a^?rc  l^^3  gebraud?t  tt)ur5en  unb  in 
ben  in  KISftern  gefd?riebenen  Biicfyern  gebrciud?Hd?  maren. 

Capitals  2023  12-point  Lower-case  12 

1  job  case 


Die  ,,&urfit>"  fan6  it^rc  crfte  2lntocnbung  in 
cincr  ©ftapausgabc  6es  Dirgil,  6ic  21I6us 
ITTanutius  im  3at?re  ^50^  in  Dcncbig  fcrufte. 

Capitals  2614  14-point  Lower-case  1484 

1  job  case 


422 


Foreign  Text  Types  of  the  <De  Vinne  <Press 
HEBREW 


p  vnrn  o«n  no  * 
:IKCD  nona  nym  nl7»  nv  now  ncn 

8-point,  old  body  1  pair  of  eases 


i|D  p  «p 


T       T       T 


10-point 
Has  vowel  points  and  musical  accents  1  pair  of  cases 


EUSSIAN 

KapaBaHt  MOJiejiLiu.HKOB'B  BbicTynajt  HS^  BpaTi.  ,3,iap- 
.     Bnepe^H   ero   ^xajn>    OcMant  H 
eHLrn; — HManti  6jarocjioBJifljiH 

CTpaHHHKOB'b;    aCHTGjIH   yCLinaJIBL    HB-feTaMH    HJTL    HX1>. 

Capitals  26%  12-point  Lower-case  19 

1  job  case 


ESTRANGKELO  SYRIAC 

cnidxfioa 


12-point  1  pair  of  cases  and  1  sort  case 

423 


Foreign  Text  Types  of  the  <De  Vinne  Press 
FBENCH  CURSIVE 


'  fui  at  ^*fcoMMi?  ctfui          e  m 

-  A^fe^w.      G-^  (ccrrt--,  erf  ^or^  A 

ii^    a-  C^amc-*  Cp?ipoW^cJ. 

Fournier,  Manuel  Typographique,  tome  II,  p.  141. 


Capitals  24^  Body  10  Lower  case 

1  job  case 

This  "  Cursive  Francois,"  or  "  Civilit^ "  as  then  called,  was  de- 
signed by  Nicholas  Gran j  on  in  imitation  of  a  style  of  penmanship 
then  in  fashion,  and  cast  at  a  type  foundry  of  Lyons  in  1556.  It 
was  used  by  Plantin,  of  Antwerp,  for  several  books. 

Use  it  now,  only  on  request,  for  short  quotations  from  French 
authors  of  the  Sixteenth  or  Seventeenth  Century.  The  font  is 
small,  and  was  cast  as  a  favor  to  us  from  the  original  matrices  in 
a  type  foundry  at  Lyons. 


VISIGOTHIC 


424 


Scripts 


Script  Types  of  the  <DeVinne  <Press 
SCRIPT 


is  seldom  required  by  the  customers  of 
this  printing-house.  The  old  styles  with  long  projecting 
kerns  and  stiff  curves  are  now  disliked.  The  sweep  re- 
quired for  each  ascending  and  descending  character  makes  the 
small  round  letters,  like  a,  o,  and  m,  relatively  indistinct.  The 
stiff  formality  or  the  awkward  flourishes  of  the  capital  letters 
of  the  old  fashions  are  other  objections.  The  feebleness  of  hair- 
lines and  the  liability  of  all  characters  to  show  wear  in  breaks  or 
gaps  between  characters  make  type-script  an  ungraceful  letter  for 
the  buyer  of  printing  and  an  unprofitable  one  to  the  master 
printer.  Typographic  script  on  an  inclined  body  is  a  vain  attempt 
to  overcome  mechanical  difficulties  ;  it  is  a  mistake. 

Script  lettering  may  be  needed  in  the  printed  forms  that  have 
to  be  produced  in  haste  for  receptions,  weddings,  and  other  assem- 
blies. It  may  be  required  for  visiting  and  professional  cards, 
but  not  often  for  a  business  or  professional  circular.  Plain  type 
usually  has  preference,  but  when  script  is  used,  the  taste  of  the 
time  is  for  the  more  flowing  forms  of  script  made  by  lithographers 
and  copperplate-printers,  who  can  easily  give  to  all  characters 
graces  that  are  impossible  in  types  cast  on  a  square  body. 

Never  use  type-script  on  inclined  body  for  any  form  of  open 
composition  that  requires  display  lines  to  full  width  of  measure 
with  occasional  catch-lines  between.  The  unavoidable  length  of 
the  ascending  and  descending  letters,  that  will  not  interlock  as 
they  readily  do  in  engraved  work,  gives  to  every  attempt  at  display 
in  type-script  an  unpleasant  suggestion  of  scragginess. 

Never  select  type-script  to  be  set  in  a  paragraph  in  the  ordinary 
letter-  writer  style,  with  lines  of  the  full  width  of  measure,  unless 
that  paragraph  has  few  words  and  the  margins  about  the  para- 
graph are  ample.  The  broad  blank  spaces  that  are  produced 
between  lines  by  ascenders  and  descenders  must  be  relieved  by 
abundance  of  white  space  in  the  margin.  A  composition  of  script 
that  seems  huddled  and  confused  on  paper  of  note  size  is  not  so 
objectionable  when  it  is  printed  on  the  larger  page  of  letter. 

Do  not  indent  the  first  line  of  a  paragraph  about  one  third  or 
one  half  the  width  of  the  measure.  An  indention  of  two  or  three 
ems  is  enough.  Do  not  wide-space  words  of  script. 

427 


Script  Types  of  the  <De  Vinne  "Press 
FRENCH  SCRIPT 

LOUIS  XIV 
From  the  Foundry  of  Gustave  Mayeur,  Paris 


GleazneM  3$ 


witfi  it6 

French  body  24  Lower-case  20^ 

16  a  Jz>wpez  <yToate  fot  the  Old 
&tyle  cJ'ooman   \5ype  of  any  c/adfiion 

French  body  20  Lower-case  IB1*} 

Q)t6  Joowet-cade  16  a  cHoappij  Combination 
of  yood  c>eatuted  in  QJtallc  and  (zfctipt.  crew 
vbeined  Joetteta,  J&ettetA  do  iloot  (Connect. 
o\oa6  (^flight  (Inclination,  lOo  loopd  to  Joona 
JoetteiA.  a\ocL6  ubccentd  fot  (zfmall  £ettei6 

French  body  16  Lower-case  14 

oft  id  cftecniently  Selected  for  ctfoote  and  J&ettez  (SitCiiLazd 
by  thoAe  wko  didlike  the  cffloonotony  of  cfboman  JZowet- 
caae  Joette^A  and,  the  Ovctworhed  cFbefinementA  of  Stnita- 
tiond  of  (joppezplatc  Script. 

French  body  12  Lower-case  11 

{shit  <$ma.lU6to  <$i$e  of  twelve-pointy  may  be  too  amall  foz  aezvic*  in 
the  otdinazy  <T&ote  (oiiculaz,  buto  ito  can  be  uoed  effectively  foi  Cfi&ame6  of 
Zbezdona  in  ike  ofoeadinga  of  Jbetteza  ana  (yizculata,  fot  wkich  puzpOM  ito 
it)  a&  diatincto  a<i  small  yotkic  oz  tke  dmall  capitals  of  dooman. 
French  body  10  Lower-case  S1^ 

These  are  some  of  the  accents  and  figures  : 

_<A/<A"A"At  A  ••  „  , 

aaaeeeeiiouuuqn 


428 


Script  Types  of  the  ^De  Vinne  '•Press 
FEENCH  SCRIPT 

LOUIS  XTV 
From  the  Foundry  of  Gustave  Mayeur,  Paris 


oay  10  to 


oay  48  bu 


French  body  48 


Lower-case  8314 


;„  cp 

in  cist 


o  )  )• 

vvt 


French  body  40 


Lower-case  27 


tn 


,  JjocumentA  ana 
Worn 


French  body  32  Lower-case  23 

429 


Script  Types  of  the  <De  Vinne  '•Press 
RUNDSCHBIFT 

From  the  American  Type  Founders  Co. 


i     •        0 
m    is   &foo 

Lica  01  IxC-poi/nt 

z>  18  - 


w?n   in   o  ouz 


/CO- 

28-point,  old  body  Lower-case  1834 


Of  c^e^maH  J)e&ian,  tt 
,Lecuuaziiie&  m   Soo 

a&e  &eems>  smau,  fcul  tt  i&  zi/t&linci  aua  0)  Core 
awe  Iwan  oilier  &tmed  o|  a  tuucw  ;L/a^ae^  &ace. 


22-point,  old  body  Lower-case  12 


oJt  ts>  seldom  called  tor  as  a  ouiicme  Cupe  |OT;  JCote  and  better 
©«cuvor&,  vui  it  mow  ve  selected  tevto  aaVantaae  lor  OJlottos  and 
c)wozt  ©attracts  in  Lampwtets  in  places  wwere  tfoe  Urdinarw  oforws 

o|  oJtaiic  seem  deficient  in  proper  SPistinctiveness  or  ©mpwa&is. 
18-point,  old  body  Lower-case  10 

oJ(j>  cltawic  aTtauie«>,  Z2^4§(9Z8§)0,  aie  tatae  ana  plain,  ana  mau 

{••»  ti»»d   lot  omet  fonls>  of  <^7»tttcal  ;£eU»T  tn  t»toic»  iwiute*  at«  needte&»lu 
ii  id  i 

indi^inct.       olt»  ©ccenittc  (Sapttai*  «>tli  So  found  «>eti>iceaci0  in  tee  con- 
neciina  vooid  o|  l4e  ^"izei  SStne  ot  ^CaTaatap^  ol  uafet-taoed  a&tack-tett#z 
ween  Ifcew  az«  pieceded  Jm  SEaiqe  and  Utnamenled  oJnvtiat*. 
12-point,  old  body  Lower-case  8^2 

430 


Script  Types  of  the  <De  Vinne  Press 
PEN   TEXT 

From  the  Cincinnati  Type  Foundry 


40-point,  old  body  Lower-ease  38 

-Pta-ue  eFi/ue  <H 


14-poi/H/t 


or- 


40-poi/H/t 


28-point,  old  body  Lower-ease  29 


i/vt  loti^i^  i^  §8>^oa-be^  §Sofee^  cw/b 


22-point,  old  body  Lower-ease  21 

5)o  -HO^ 


18-point,  old  body  Lower-case 

caw  &e  -u^eb  ^o-r  ^ 
w  Script  ^le^  o^  ^iafite-r  eFace. 
EtiC  in  capital  %<ytw\  lor  eFi/£d£ 
apli^  p^ecebeb  l>-u  a  £arae  Initial 

14-point,  old  body  Lower-case  1412 

431 


Script  Types  of  the  <De  Vinne  "Press 
ENGKOSSING 

Bruce 
A  thin  and  angular  Vertical  Script  with  Eccentric  Capitals 


nre 


pica  o* 


24-point,  old  body 


Lower-case  1414 


a 


of  t^b  Stijfe  aie  Simptet 


a 


t,  (hit  aie    to 


wha\ 

36-point,  old  body  Lower-case  20 

(c!a|Htafo  can  &e  u&ed  ioitl>  tfye  Soioe^eaie  to  good 

t^e  3£eading^  ouet  ^bptai}  Sine^  In  otfyefc  and 
S'acei  of  a  fanciful 


18-point,  old  body  Lower-case 

foioei-cow  (icit^  copitofi)  of  t^e  ^aigti  Size*  iclff  6e  found  an  Ifftctiw 
Settti  foi  ^ata^tap^  In  ^iicwfou  t^at  *eewv  to  teqtute  piomiiwiice  ioil|)oiit 
wg  an  appeaiana  of  fyt  33o(dnett  and  ^Sfacinew  irva3e  &i>  f  aigt  (Eootw 
^e  Sinaffei  Size*  ate  ncgfated  itiffti  t^at  couB  &e  of  good  itioia. 

12-point,  old  body  Lower-case  734 

432 


Script  Types  of  the  <De  Vinne  <Press 
ENGIKOSSING 


Bruce 


c^oft  |Totice4  oft  (8i/ftei/i/< 


oote,  and  not 


to     a 


and 


ettefting/, 
3ace  on  (Banon 


48-point,  old  body,  No.  681 

433 


Lower-case  28 


Script  Types  of  the  1)e  Vinne  'Press 
MANUSCRIPT 

From  the  American  Type  Founders  Co. 


e^  :  J 


24-point,  old  body,  No.  2  Lower-case  25 


e/  nxt^x   ^-^^t^Oc^C^-o^^'    oX    c/ 


s€s€sC>G-YKs    L' 


0 


/  1 

ijt 


a,       &usQt***'    J/o-cu'. 

24-point,  old  body,  No.  1  Lower-case  21 


o-*- 


o-e'  p 

,G/    O-f 


18-point,  old  body,  No.  2  Lower-case  17 

<t-»ce6      K^C«^ifc^»-e^      t/ 
ex  et^e^a-    c^«^»t^    U^ 


^-x^«xt  u-i^e-  o^/  ^4 

J(j3Lt<.<L  Vt^«-  <VH,  6^  Va^c^  IS'o-JLu,.     ItaJlie 
s  Open  *&*,  i*,  «*±*,<L  to-  luit 

7r  e^t^eii,     ^4-e^^     n*c,t,cL     ^^^c^t-oj.-     J/ 
18-point,  old  body,  No.  1  Lower-case 

434 


Script  Types  of  the  ^De  Vinne  <Press 
VERTICAL  SCRIPT 


A.  T.  F.  CO. 


Ob 


to- 


Capitals  30% 


Qy 


Capitals  8784 


tru/  toAfa^ix  oX 
op   WJayVLX^Ayt 

yfcb.    Jit  IA/  rtcMA/ytcL, 


u> 


rvo 


18-point 


Lower-case 


OV 


cu  t>Ax><xxL 


24-point 


Lower-case  30 


435 


Table  Figures,  Etc, 


Table  Figures  and  Odd  Characters 
TABLE  FIGURES,  ETC. 

Many  of  which  have  no  mating  fonts  of  letter 
Bruce 


5-point,  old  body  (Patent) 

1234567890 

Extended  Antique  on  14-point,  old  body 

1234567890 

6-point,  No.  13 
1234567890 

6-point,  Antique  No.  302 
1234567890 

Title  on  14-point,  old  body 
1934567890 

7-point,  old  body,  No.  11  (Patent) 


7-point,  old  body,  Title  No.  140 
1334567S0O 

8-point,  old  body,  not  No.  11  (Patent) 
1234567890 

8-point,  old  body,  Antique  No.  302 
1234567890 

8-point,  old  body,  Gothic 

1234567890 

439 


Types  of  the  foe  Vinne  <Press 
TABLE  FIGURES,  ETC. 

Bruce 


8-point,  old  body,  Clarendon 
1834567890 


10-point,  old  body,  Clarendon 

1234567890 

12-point,  old  body,  Clarendon  Condensed 

1234567890 


8-point,  old  body,  Aldine 
1234567890 


12-point,  old  body,  Aldine 

1234567890 

10-point,  old  body,  Title 

1234567890 

9-point  face  on  14-point,  old  body 

1234567890 

10-point,  old  body 
1234567890 


10-point,  old  body 

1234567890 
440 


Table  Figures  and  Odd  Characters 
TABLE  FIGURES,  ETC. 

Bruce 


No.  1  on  14-point,  old  body 

1234567890 

12-point,  old  body,  Antique  No.  306 

1234567890 

14-point,  old  body,  Eoman  No.  6.    Johnson 

1234567890C]  Oabcd 

18-point,  old  body,  Antique  No.  306 

1234567890 


20 -point,  old  body 

7890 


22-point,  old  body 

1334567890 

22-point,  old  body 

1234567890 

28-point,  old  body,  Antique  Condensed 

1234567890 

441 


Types  of  the  foe  Vinne 
FIGURED  LETTERS 

Farmer 

8-point,  old  body  ( No  alphabet  to  match  ) 
Uftftiitt«t!&*A4ti 

10-point,  old  body  ( No  alphabet  to  match ) 

U4llima*6*StA4ft  +  * 

11-point,  old  body  ( No  alphabet  to  match  ) 


CANCELED  LETTERS 

Farmer 
8-point,  old  body 

iR$^fc*i,VX*$fcH$ 

12-point,  old  body 


TIED  LETTERS 

Farmer 

8-point,  old  body 
ChOuThdhngouowthWh 

10-point,  old  body 
OhSliTiiWhOudli^hthwTingouow 

11-point,  old  body 


There  are  many  more  of  these  characters  shown 
in  the  respective  fonts  to  which  they  belong 

442 


Index 


INDEX 


Aesthetic;  398 

Aldine;  268,  269 

Aldus  Italic;  312 

Alexandrian;  397 

A.,  M.  &  E.,  6  pt.;  148,  Caps  116 

Ancient  Eoman;   100,  101 

Anglo  Saxon  Black;  13,  31,  75,  76 

Antique,  Classic;  243-245;  Caps  128 

Antique,  Condensed;  375,  377 

Antique,  Dictionary;  356 

Antique,  Doric;  372,  373 

Antique,  Doric,  Ionics,  etc.,  355,  393 

Antique  Extended;   386 

Antique,  Ionic;  362,  363 

Antique,  Italic;  299 

Antique,  large;  360,  361 

Antique,  Latin,  No.  520,  371 

Antique,  Miscellaneous  small  faces;  356, 

Antique  No.  5,  6  pt.;  356 

Antique  No.  125;  357 

Antique  No.  302;  355 

Antique  No.  306;  357 

Antique  No.  310;  358,  359 

Antique,  Old  Style,  No.  310;  358,  359 

Antique,  Kenner;  225 

Antique,  Wood;  360,  361 

Arlington;  193 

A.  T.  F.,  No.  26;  151 

A.  T.  F.  No.  313,  14  pt.;  152 

Athenian;  411 

Audsley  Initial,  72  pt;  51 

Augustan  Black;  13,  31 

Backgrounds  (initial);  84,  85,  86,  87 

Backslope  Lining  Gothic;  337 

Bartlett  old  style;  357 

Bauer  Initial;  57,  58 

Black;   2-31 

Black,  A.  D.  F.  &  S.;  22 

Black,  Anglo  Saxon;  13,  31,  75,  76 

Black,  Augustan;  13,  31 

Black  Canon,  No.  1;  23 

Black,   Canon,   No.   2;   23 

Black,  five-line;  75 

Black,  Flemish;  8,  9 

Black,  four- line;  75 

Black,  Initials;  75,  76 

Biack,  No.  1;  22,  23 

Black,  No.  2;  22,  23 

Black,  No.  3;  22,  25 

Black,  No.  4;   22,  23 

Black,  No.  400;  25 

Black,  No.  401;   25,  29 

Black,  old;  6,  7,  24,  25 

Black,  ornamented;  17 

Black,  E.  S.;  23 

Black,  sloping;  12,  29 

Black,  Text,  Washington;  412 

Black,  three-line;  75 

Black,  Washington  Text;  412 

B  M  &  E,  8  pt.;  149,  Caps  116 

Bold  face,  Gothic,  5  pt.;  324 

Bold  face,  Gothic;  series;  334,  335 


Bold  Italic,  Cheltenham;  300-302 

Borussian;  16,  27 

Borussian,  Bold;  27 

Bradford;  100,  101,  127;  see  also  Macfarland 
&  Ancient  Eoman 

Bradley;  387 

Brilliant,  No.  17;  115,  133 

Broadface,  Farmer,  10  pt.;  142 

Broken  Back;  387 

Bruce  Initial,  No.  3,  46  pt.;  64 

Bruce  Initial  No.  10,  22  pt.;  51 

Bruce  Initial,  No  11,  30  pt.;  51 

Bruce  Initial,  No.  12,  42  pt.;  51 

Bruce  Initial,  No.  13;  56 

Bruce  No.  1074,  18  pts.-48  pts.;  78 

Cabalistic;  78,  401 

Cadmus;  104,  105,  125,  219-222  (for  same 
357  face,  but  other  sizes  see  Elzevir,  and 

French  Old  Style) 

Cancelled  letters;  442 

Canon  Black,  No.  1;  23 

Capitals  and  Figures;  109-130 

Card,  Gothic;  336 

Caslon;   179-191 

Caslon,  Caps  only;  120,  121 

Caslon  Initial,  No.  3,  32  pt. ;  57 

Caslon  Initial,  No.  10,  81  pt.;  50 

Caslon,  Initial  No.  11,  90  pt.;  62 

Caslon  Initial,  No.  12,  74  pt.;  with  border; 
62 

Caslon  Initial,  No.  12,  74  pt.;  without  bor- 
der; 59 

Caslon  Initial,  No.  13,  80  pt.;  52 

Caslon  Initial,  No.  16;  48 

Caslon  Initial,  No.  19;  62 

Caslon  Initial,  No.  21,  58  pt.;  50 

Caslon  Initial,  No.  22,  30  pt.;  51 

Caslon  Italic;  292,  293 

Caslon,  large  faces;  121 

Caslon  New;  241,  242 

Caslon,  wood;  121 

Caxton  Initial,  72  pt.;  54 

Celtic;  250,  251 

Celtic,  light,  249,  252 

Celtic  Shaded;   252 

Century,  Capitals  only;  112,  113 

Century  Expanded;  229-235,  261  Caps  112- 
113 

Century  Expanded  (magazine);  232,  233 

Chancery  Initial,  72  pt.;  52 

Chapel  Text;  15,  30 

Cheltenham  Bold  Italic;   300-302 

Cheltenham,  Capitals  only;  125,  126 

Cheltenham  Italic,  Bold;  300-302 

Cheltenham  Old  Style;  213-218,  Caps  125- 
126 

Church  Text  (Elizabethan);  14,  30 

Cincinnati,  Initial;  44,  57 

Clarendon;  380,  381 

Clarendon  Condensed,  No.  320;  382 

Clarendon  Extended;  386 

Clarendon  French  Extended;  387 

445 


Index. 


Clarendon,  French,  No.  341;  383,  384 

Clarendon,  Wood;  380,  381 

Classic  Antique;  243-245,  Caps  128 

Classic  Capitals  only;  128 

Cloister  shaded;  403 

C.,  M.  &  E.,  9  pt.;   149;  Caps  116 

Compressed     French-face,     Body     12;     138, 

Caps  117 

Condensed  Antique;  375,  377 
Condensed,  Capitals  only;  118 
Condensed  Clarendon,  No.  320;  382 
Condensed,  Extra,  Capitals  only;  119,  130 
Condensed,  Extra,  Old  Style;  266 
Condensed,  Extra  (Koman)  ;   268,  270,  280 
Condensed  Gothic  Italic;  310 
Condensed,  Gothic,  No.  2;  340 
Condensed  Gothic,  No.  37;  341 
Condensed  Gothic,  No.  123;  343 
Condensed  Gothic,  No.  240,  series;  338,  339 
Condensed  Gothic,  No.  241;  342 
Condensed  Gothic,  No.  242;  340,  342 
Condensed,  Gothic,  No.  243,  6  pt.;  340 
Condensed  Jenson,  368-370 
Condensed  John  Hancock;  286,  287 
Condensed,  Latin;  378,  379 
Condensed,  Old  Style;  257,  258 
Condensed  Old  Style,  two-line;  102 
Condensed  Old  Style,  wood;  204,  212 
Condensed  Post;  390,  391 
Condensed  Eoman;  259-261 
Condensed,  two-line;  96,  97,  98 
Condensed,  wood;  207,  209-212 
Condensed,  wood,  Caps  only;  123 
Conner  Gothic,  5  pt.  (with  1.  c.);  324 
Conner,  Gothic,  5  pt.  (without  1.  c.);  324 
Conner  Initial,  No.  11,  60  pt.;  58 
Conner  No.  4,  18  pt.;  147;  Caps  111 
Copley;   288 
Cursive,  French;  424 
Curtis  Post;  392,  393 
Cushing;  246 
Gushing,  Old  Style;  374 
Dado;  400 
Delia  Eobbia;  348 
De  Vinne;  273-280 
De  Vinne  Italic;  320 
Diamond;  No.  16,  115,  133 
Dictionary  Antique;  356 
Didot-face,  Body;  12,  137;  Caps  117 
D,  M  &  E,  11  pt.;  116,  150 
Doric;  372,  373 

Doric,  Antique,  Ionic,  etc.;  355,  393 
Eighteenth  Century  Initial,  52  pt.;  59 
Elizabethan  (Church  Text);  14,  30 
Elongated  Italic;  299 
Elzevir  Caps  only;  125 
Elzevir  Lining  Gothic  No.  2;  343 
Elzevirs;    125,    219-222;    Caps   104-105;    for 

same  face  but  other   sizes  see   Cadmus 

and  French  Old  Style 
Engraver's  Hair  Line  No.  644;  248 
Engraver's  Italic;  311 
Engraver's,  open;  65,  402 
Engraver's  open  italic;  315 
Engraver's  Eoman;  252,  253 
Engrossing;  432,  433 
Expanded,  Century;  229-235,  261.   Caps  112- 

113 
Expanded  Gothic,  No.  200,  8  pt.;  325 


Expanded  Italian;  387 

Expanded  No.  180;  271,  272 

Extended  Antique;  386 

Extended  Clarendon;  386 

Extended  Clarendon,  French;  387 

Extended  Eunic,  No.  643;  352 

Extra  Condensed,  Capitals  only;  119,  129 

Extra  Condensed,  Old  Style;  266 

Extra  Condensed  Eoman;  268,  270,  280 

Fac  Initial;  45 

Farmer,  Caps  only;  113 

Farmer  Lightface,  llpt.;  142 

Farmer  No.  4;  145,  146;  Caps  114 

Farmer  No.  6,  12  pt.;  144;  Caps  114 

Farmer  No.  12,  11  pt.;  143;  Caps  114 

Farmer  No.  13;  139,  141,  144;  Caps  114 

Farmer  No.  15;  139,  140;  Caps  114 

Farmer  No.  18,  9  pt.;  140;  Caps  114 

Farmer's  Broadface,  10  pt.;  142 

Fifteenth  Century;  192,  193;  Caps  128 

Fifteenth  Century,  Caps  only;  128 

Figured  letters,  etc.;  442 

Figures  and  Capitals;  109-130 

Figures,  etc.;  437-442 

Filigree;   65,  77 

Filigree  solid,  48  pt.;  65 

Flemish  Black;  8,  9 

Flemish,  Old;   28 

Foreign  Text  Types;  413-424 

Four-and-a-half  point  (Diamond);  133;  Caps 

116 

French,  Caps  only;  117 
French  Clarendon  Extended;  387 
French  Clarendon,  No.  341;  383,  384 
French,  Cursive;  424 
French  face  Compressed;  138;  Caps  117 
French  Light  face  Body  10,  Eoman  No.  7; 

136;  Caps  117 
French,  Old,  Initial;  53,  55 
French   Old  Style;    219-222;    Caps   104-105, 

125;  for  same  face  but  other  sizes  see 

Elzevir  and  French  Old  Style 
French  Old  Style  (Turlot),  11  pt.;  248 
French  Script;  428,  429 
German;  419-421 
Gothic,  6  pt.,  Farmer;  335 
Gothic,  Backslope  Lining;  337 
Gothic  Bold  face;  334,  335 
Gothic  Bold  Face,  5  pt.;  324 
Gothic,  Card;  336 
Gothic  Condensed  Italic;  310 
Gothic  Condensed,  No.  2;  340 
Gothic  Condensed,  No.  37  series;  341 
Gothic  Condensed,  No.  123;  343 
Gothic  Condensed,  No.  240  series;  338,  339 
Gothic  Condensed,  No.  241;  342 
Gothic  Condensed,  No.  242;  340,  342 
Gothic  Condensed,  No.  243,  6  pt.;  340 
Gothic,  Conner,  5  pt.  Caps  only;  324 
Gothic,  Conner,  5  pt.  (with  1.  c.);  324 
Gothic,  Conner,  5  pt.  (without  1.  c.);  324 
Gothic,  Elzevir  Lining  No.  2;  343 
Gothic  Expanded,  No.  200,  8  pt.;  325 
Gothic  Grotesque,  Series;  326 
Gothic  Hair-line  Italic;  309 
Gothic,  Italic  Condensed;  310 
Gothic  Italic  Hair-line;  309 
Gothic  Italic  No.  2;  309 
Gothic  Light  face,  No.  10  series;  329 


446 


Index. 


Gothic,  Lining  Backslope;  337 

Gothic,  Lining,  Elzevir,  No.  2;  343 

Gothic  Lining  No.  545,  series;  332,  333 

Gothic,  Lining,  Nos.  1,  2,  3  &  4;  6  pt.;  323 

Gothic,  No.  3,  8  pt.;  335 

Gothic  No.  3,  10  pt.;  325 

Gothic  No.  4,  12  pt.;  325 

Gothic  No.  5,  28  pt.;  325 

Gothic  No.  7   (light  face)   6  pt.;  325 

Gothic  No.  10,  series;  326 

Gothic  No.  123,  8  &  10  pt.;  328 

Gothic  No.  127,  8  &  10  pt.;  328 

Gothic  No.  200;  325 

Gothic  No.  201,  series;  329 

Gothic  No.  520,  Lining,  series;  330,  331 

Gothic  No.  545,  Lining,  series,  332,  333 

Gothic  Konaldson,  series;  344,  345 

Gothics  and  Eunics;  323-352 

Graver 's  Shaded ;  405 

Grecian;  385 

Greek;  415-418 

Grotesque,  Gothic,  series;  326 

Hair-line  Engravers  No.  644;  248 

Hair-line  Gothic  Italic;  309 

Hair-line  Italic;  311 

Hair-line   Shaded;   398 

Half  Titles;  99 

Half  Title,  two-line;  99 

Halm;   409 

Harvard  Italic;  298 

Heavy  Runic;  350 

Hebrew;  423 

High,  or  Upset  Initial;  46 

Home-made  Initials;  87 

Inclined  Roman;  297 

Initials;  37-130 

Initial  Audsley,  72  pt.;  51 

Initial  Backgrounds;  84,  85,  86,  87 

Initial,  Bauer;   57,  58 

Initial,  Bruce,  No.  3,  46  pt.;  64 

Initial,  Bruce,  No.  10,  22  pt.;  51 

Initial,  Bruce,  No.  11,  30  pt.;  51 

Initial,  Bruce  No.  12,  42  pt.;  51 

Initial,  Bruce  No.  13;   56 

Initial,  Caslon,  No.  3,  32  pt.;  57 

Initial,  Caslon,  No.  10,  81  pt.;  50 

Initial,  Caslon,  No.  11,  90  pt.;  62 

Initial,  Caslon,  No.  12,  74  pt.  (with  border) ; 
62 

Initial,  Caslon,  No.  12,  74  pt.  (without  bor- 
der);  59 

Initial,  Caslon,  No.  13,  80  pt.;  52 

Initial,  Caslon,  No.  16;  48 

Initial,  Caslon,  No.  19,  126  pt.;  62 

Initial,  Caslon,  No.  21,  58  pt.;  50 

Initial,  Caslon,  No.  22,  30  pt.;  51 

Initial,  Caxton,  72  pt.;  54 

Initial,  Chancery,  72  pt.;  52 

Initial,  Cincinnati;  44,  57 

Initial,  Conner,  No.  11,  60  pt.;  58 

Initial,  Eighteenth  Century,  52  pt.;  59 

Initial,  Fac;  45 

Initial,  High  or  Upset;  46 

Initial,  Home-made;  87 

Initials,  Jenson  (wrongly  called);  47 

Initial,  Kelmseott;  47 

Initial,  Mayeur,  No.  697,  52  pt.;  51 

Initials,  Mayeur  No.  699,  72  pt.;  50 

Initials,  Mayeur,  No.  735,  46  pt.;  64 


Initials,  Mayeur,  No.  761,  36  pt.;  64 

Initials,  Mayeur,  761%,  32  pt.;  64 

Initial,  Medieval;  47 

Initial  Miscellaneous;  72  to  83 

Initial,   Monk;   43 

Initial,  Morris;  47 

Initial,  Old  English;  59 

Initial,  Old  Trench;  53,  55 

Initial,  Pierced;  45,  85 

Initial  Ratdolt;  48 

Initial,  Reed,  No.  2,  36  pt.;  56 

Initial,  Romance,  99  pt.;  55 

Initials,  odd;  79-86 

Initials,  Ornamented  Black;  76 

Initials,  Reed  No.  1,  60  pt. ;  56 

Initials,  Silhouette;  74 

Initial,  Tegner;  63 

Initial  Trail,  A.  D.  F.  &  S.  No.  12,  128  pt.; 

71 
Initial  Trail,  A.  D.  F.  &  S.  No.  13,  81  pt.; 

69 

Initial  Trail,  Bruce,  No.  8,  60  pt.;  71 
Initial  Trail,  Bruce,  No.  9;  70 
Initial  Trail,  Bruce,  No.  12,  81  pt.;  68 
Initial  Trail,  Bruce,  No.  14,  48  pt.;  69 
Initial  Trail,  Bruce,  No.  22,  108  pt.;  68 
Initial  Trail,  Conner,  No.  10,  48  pt.;  69 
Initial  Trail,  Hagar,  108  pt.;  68 
Initial  Trail,  M.  &  R.,  No.  3,  27  pt.;  69 
Initial  Trail,  No.  18;  70 
Initial,  Upset  or  High;  46 
Initials,  XVIII  Century,  52  pts.;  59 
Initial,  Zeeze,  No.  17,  60  pt. ;  61 
Initial,  Zeeze,  No.  18,  48  pt.;  61 
Initials,  Zeeze,  series;  22,  49 
Ionic;  362,  363 

Ionic,  Doric,  Antiques,  etc.;  355,  393 
Ionic  Wood;  360,  361 
Italian  Expanded;   387 
Italic;  291-320 
Italic  Aldus;  312 
Italic  Antique;  299 
Italic,  Bold,  Cheltenham;  300-302 
Italic  Caslon;  292,  293 
Italic,  Cheltenham,  Bold;  300-302 
Italic  Condensed  Gothic;   310 
Italic  De  Vinne;  320 
Italic  Elongated;   299 
Italic,  Engraver's;  311 
Italic  Engraver's  Open;  315 
Italic  Gothic  Condensed;  310 
Italic  Gothic  Hair-line;  309 
Italic  Gothic,  No.  2;  309 
Italic,  Hair-line;  311 
Italic,  Hair-line  Gothic;  309 
Italic  Harvard;  298 
Italic,  Jenson;  319 
Italic,  Law;  314 
Italic  Lithographic;  313 
Italic  Modernized  Old  Style  No.  20;  294,  295 
Italic,  Niagara;  305-307 
Italic,  Old  Old  Style;  292,  293 
Italic,  Old  Style  Modernized,  No.  20;  294,  295 
Italic,  Post;  303,  304 
Italic,  Renner;  223,  224,  226 
Italic,  Show  Card;  316,  317 
Italic  Title;  296,  297,  298 
Jenson;  364,  367 


447 


Index 


Jenson  Condensed;  368-370 

Jenson,  Italic;  319 

John  Hancock;  286,  287 

John  Hancock,  Condensed;  286,  287 

Kelmscott  Initial;  47 

Latin  Antique  No.  520;  371 

Latin  Condensed;  378,  379 

Law  Italic;  314 

Letters  Cancelled;  442 

Letters  Figured,  etc.;  442 

Letters  tied;  442 

Light  Celtic;  249,  252 

Light-face;  115,  174-178 

Light-face,  Caps  only;  265 

Light-face,  Farmer's  11  pt. ;  142 

Light-face,  French,  Body  10  (Eoman  No.  7); 

136,  Caps  116 

Light-face  Gothic  No.  10,  series;  329 
Light  Eunic;  351 
Lindsay;  161,  160,  Caps  110 
Lindsay,  Caps;  XI 0 
Lining  Backslope  Gothic;  337 
Lining,  Elzevir  Gothic,  No.  2;  343 
Lining  Gothic  Backslope;  337 
Lining,  Gothic,  Nos.  1,  2,  3  &  4,  6  pt.;   323 
Lining  Gothic,  No.  520,  series;  330,  331 
Lining  Gothic,  No.  545,  series;  332,  333 
Lithographic  Italic;  313 
Louis  XIV  Script;  428,  429 
Louis  XV;  247 
Macfarland;   228.     For  other  sizes  of  same 

face  see  Bradford  and  Ancient  Eoman 
Macfarland,  Caps;  127 
M.  and  E.,  A,  6  pt.;  148,  Caps  116 
M.  and  E.,  A;  148,  Caps  116 
M.  and  E.,  B,  8  pt.;  149,  Caps  116 
M.  and  E.,  Caps;  116 
M.  and  E.,  C,  9  pt.;  149,  Caps  116 
M.  and  E.,  C;  149,  Caps  116 
M.  and  E.,  D;  150,  Caps  116 
M.  and  E.,  D,  11  pt.;  150,  Caps  116 
M.  and  E.  No.  22,  6  pt.;  148,  Caps  116 
M.  and  E.  No.  28,  10  pt.;  150,  Caps  116 
Manuscript;  434 

Mayeur  Initial,  No.  697,  52  pt.;  51 
Mayeur  Initials,  No.  699,  72  pt. ;  50 
Mayeur  Initials,  No.  735,  46  pt.;  64 
Mayeur  Initials,  No.  761,  36  pt.;  64 
Mayeur  Initials,  No.  761%,  32  pt.;  64 
Medieval  Initial;  47 
Microscopic,  Caps;  115 
Miscellaneous  Initials;  72-83 
Missal;  16.    For  other  sizes  of  same  face  see 

Uncials  &  Monk 

Missal,  Uncial,  ornamented,  30  pt.;  44 
Modernized  Italic  Old  Style,  No.  20;  294,  295 
Modernized  Old  Style  Capitals;  124 
Modernized  Old  Style  Italic,  No.  20;  294,  295 
Modernized  Old  Style,  No.  20;  195-212,  Caps 

124,  294,  295 
Monastic;  264 
Monastic  Initial;  47 
Monk;  43,  44 

Monotone  (now  called  Gushing) ;  246 
Morris  Initial;  47 
Motteroz  Body;  5,  117,  134,  135 
Moxon,  12  pt.;  410 
Moxon,  60  pt. ;  17,  76 
Moxon  (solid)  ;  65 


Mural;  410 

New  Caslon;  241,  242 

Niagara;  305-307 

Norman;  262,  263 

No.  4  Conner,  18  pt.;  147,  Caps  111 

No.  4,  Farmer,  14  pt.;  146 

No.  4,  Farmer,  18  pt.;  145,  Caps  114 

No.  6,  Farmer  12  pt.;  144,  Caps  114 

No.  7  Eoman,  Body  10  (French  Light-face)  ; 

136,  Caps  117 

No.  11,  Bruce;  153-158;  Caps  109 
No.  11,  Caps;  109 
No.  12,  Bruce;  163,  Caps  109 
No.  12,  Capitals;  109 
No.  12,  Farmer,  11  pt.;  143,  Caps  114 
No.  13,  Bruce,  14  pt.;  164-167,  Caps  110 
No.  13,  Caps;  110 

No.  13,  Farmer,  8  pt.;  139,  Caps  114 
No.  13,  Farmer,  10  pt.;  141,  Caps  114 
No.  13,  Farmer,  11  pt.;  144  Caps,  114 
No.  15,  see  Caslon 

No.  15,  Farmer,  8  pt.;  139,  Caps  114 
No.  15,  Farmer,  9  pt.;  140,  Caps  114 
No.  16,  Bruce;  168-172,  Caps  111 
No.  16,  Caps;  110 
No.  16,  Diamond;  133,  Caps  115 
No.  17,  Brilliant;  133,  Caps  115 
No.  18,  Farmer,  9  pt.;  140,  Caps  114 
No.  18,  Farmer,  12  pt.;  146,  Caps  114 
No.  19,  Bruce;  159,  160,  Caps  110 
No.  20,  see  modernized  old  style 
No.  22,  M.  &  E.,  6  pt.;  148,  Caps  116 
No.  26,  A.  T.  F.;  151 
No.  28,  M.  &  E.,  10  pt.;  150,  Caps  116 
No.  71 ;  see  Caslon 
No.  105,  two-line;  94,  95 
No.  313,  A.  T.  F.,  14  pt.;  152 
No.  1828,  A.  T.  F.;  162,  Caps  114 
No.  1828,  Caps;  114 
Numismatic;  41 
Odd  Initials;  79-86 
Odd  Letters,  Figures,  etc.;  442 
Old  Black;  6,  7,  24,  25 
Old  Flemish;  28 
Old  English,  Initial;  59 
Old  Old  Style  Italic;  292,  293 
Old  Old  Style  No.  15;  183,  Caps  120 
Old  Old  Style  No.  15;  179-191,  see  Caslon 
Old  Old  Style  No.  71 ;  179-191,  see  Caslon 
Old  Style  Antique  No.  310;  358,  359 
Old  Style  Bartlett;  357 
Old  Style  Capitals,  large;  121,  122 
Old  Style  Caps;  121,  122 
Old  Style  Cheltenham;  213-218,  125,  126 
Old  Style  Condensed;  257,  258 
Old  Style  Condensed  Caps ;  129 
Old  Style  Condensed,  2-line;  102 
Old  Style  Condensed  Wood;  123,  204,  212 
Old  Style,  Gushing;  374 
Old  Style  Extra  Condensed;  266 
Old  Style,  Extra  Condensed  Capitals  only, 

129 
Old  Style,   French;    219-222,   Caps  104-105, 

125.     For  same  face  but  other  sizes  see 

Elzevir  and  Cadmus 
Old  Style,  French  (Turlot) ;  248 
Old  Style  Modern  Capitals;  124 
Old  Style,  modernized,  No.  20;  294,  295 


448 


Index 


Old  Style  modernized,  No.  20,  two-line;  98 

Old  Style  No.  20;  195-212,  Caps  124 

Old  Style  Portuguese;  194 

Old  Style  Post  Condensed;  390,  391 

Old  Style  Schoeffer  No.  2;  346,  347 

Old  Style  Title;  283-285 

Old  Style,  wood;  204-212,  122 

Open,  Engraver's;  65,  402 

Open  Engraver's  Italic;  315 

Ornamented  Black;  17 

Ornamented,  No.  1032;  405 

Ornamented,  No.  1049;  404 

Ornamented,  No.  1074;  78 

Ornamented,  No.  1515;  404 

Ornamented,  No.  1526;  399 

Ornamented,  No.  1536;  397 

Ornamented,  No.  1538;  349 

Ornamented  Type;  397 

Outline,  Uncial,  60  pt.;  65 

Pen  Text;  431 

Pierced  Initials;  45,  85 

Portuguese  Old  Style;  194 

Post  Condensed;  390,  391 

Post  Curtis;  392,  393 

Post  Italic;  303,  304 

Post  Old  Style;  388,  389 

Prayer  Book  Caps;  111 

Priory  Text,  12  pt.;  22 

Ratdolt  Initial;  48 

Record;  308 

Reed  Initials,  No.  1;  56 

Reed  Initials,  No.  2;  56 

Renner;  223-227,  Caps  127 

Renner  Antique;  225 

Renner  Capitals;  127 

Renner  Italic ;  223,  224,  226 

Riggs,  48  pt.;  173,  Caps  117 

Ritual;  42,  16 

Roman,  Ancient;  100,  101 

Romance  Initial,  99  pt.;  55 

Roman  Condensed;  259-261 

Roman,  Engraver's;  252-253 

Roman  Extra  Condensed;  268,  270,  280 

Roman  Inclined;  297 

Roman  No.  7,  Body  10  (French  Light-face) ; 

136,  Caps  117 

Roman  Scotch,  236-240,  Caps  113 
Roman,  Scotchface;  110,  161 
Ronaldson  Gothic,  series;  344,  345 
Rundschrift;  430 
Runic  and  Gothic;  323-352 
Runic  Extended,  No.  643;  352 
Runic  (Heavy)  No.  641;  350 
Runic  (Light)  No.  640;  351 
Runic  (Square)  No.  643;  352 
Russian;  423 
Satanick;  10,  11,  26,  27 
Saxon,  Anglo;  31 

Schoeffer,  old  style  No.  2;  346,  347 
Schwabacher;  422 

Scotch-face  Roman,  16  pt.;  161,  Caps  110 
Scotch  Roman;  236-240,  Caps  113 


Scotch  Roman  Caps;  113 

Script,  Engrossing;  432,  433 

Script  French;  428,  429 

Script  Louis  XIV;  428,  429 

Script,  Manuscript;  434 

Script  Pen  Text;  431 

Script,  Rundschrift;  430 

Scripts;  425-435 

Script  Text,  Pen;  431 

Script  Vertical;  435 

Shaded  Celtic;  252 

Shaded  Cloister;  403 

Shaded  Gravers;  405 

Shaded,  Hair-line;  398 

Show  Card;  316,  317 

Silhouette  Initials;  74 

Sloping  Black;  12,  29 

Square  Runic,  No.  643;  352 

Syriac;  423 

Tegner  Initial;  63 

Templar;  408 

Text,  Chapel;  15,  30 

Text,  Church;  14,  30 

Text,  Church  (Elizabethan) ;  14 

Text  Pen;  431 

Text,  Priory,  12  pt.;  22 

Text  Types;  131-254 

Text  Types,  foreign;  413-424 

Text  Washington;  412 

Three-and-a-half  point,  No.  17;  115,  133 

Tied  Letters;  442 

Title  Italic;  296,  297,  298 

Title  Old  Style;  283-285 

Trail  Initials;  66-71,  89 

Tuscan;  385 

Two-line  Letters;  94-105 

Two-line  No.  105;  94,  95 

Two-line  Old  Style  No.  20;  98 

Typewriter;  252 

Uncial;  44,  43 

Uncial,  outline,  60  pt.;  65 

Upset,  or  High  Initial;  46 

Venetian;  318 

Vertical  Script;  435 

Washington  Text;  412 

Wood  Antique;  360,  361 

Wood,  Caslon,  72  pt.;  121 

Wood  Clarendon;  381 

Wood,  Condensed  Caps;  123 

Wood,  Condensed  Old  Style;   207,   209,   210, 

211,  212 

Wood,  Gothic;    (?) 
Wood,  Ionic;  360,  361 
Wood,  Old  Style;  204-212,  Caps  122 
Wood,  Old  Style,  Condensed;  123,  204,  212 
XV  Century;  192,  193,  Caps  128 
XV  Century,  Caps  only;  128 
XVIII  Century  Initials,  52  pt.;  59 
Zeeze  Initial,  No.  17,  60  pt.;  61 
Zeeze  Initial,  No.  18,  48  pt.;  61 
Zeeze  Initials;  49 
Zeeze  Initials,  series;  22,  49 


449 


